After a winter edition that was already picking up again, the Pitti Uomo returned to a Fortezza da Basso in Florence from June 13 to June 16, preparing for a sabbatical, announced by mayor Dario Nardella. Is. Awaiting construction works of the new Bellavista Pavilion (initial investment: 26 million Euros, as reported) sun 24 hours) which will start from July 15 and will surely be a big challenge for the next edition of the fair, Fortezza is once again filled with buyers. The polling data for the first two and a half days actually showed an increase of 5 percent in Italian buyers and more than 20 percent in foreign buyers compared to June 2022, while the new president of Pitti Antonio Dematis called the «Season of Face it with Courage». The mixed formula (fair + events based across the city) that made Pitti one of the flagship events of the men’s fashion calendar suffered greatly during the pandemic, but in the last two editions it seems to have become a collector of many experiences We all know. The appointments calendar is as busy as ever, starting with major events like the show hosted by Luisa Via Roma british vogue Fendi fashion show in its factory spaces, in Piazzale Michelangelo (but suffering from summer floods), Capanuccia’s production center in the heart of the Tuscan countryside, and Californian designer Eli Russell Linetz (ERL) winner of the Lvmh Prize in 2022, Palazzo Corsini In the inner courtyard of.
Although far from each other, the two main fashion shows actually had something in common, namely that they were two ways to celebrate the community in fashion, starting with the Atelier-Factory of Silvia Venturini Fendi, which came out for a final salute. Came his entire creative team. The collection was an exploration of an affected and fluid masculinity that (for example, in the apron worn over the trousers) refers to the place where it originated, the same where the brand’s products are made every day, almost in a way Performances in which models moved between work tables where worker-master craftsmen spent their days. It was a reminder and an attempt to reaffirm what Italian luxury is, how it was born and who makes it. An operation that more and more brands are adopting, trying to break away from the narrative fueled by the rhetoric that has devalued the sense of European “good taste” made in Italy, and more generally, over the past twenty years. “Luxury Goods: Europe’s Joke on the World” Janan Ganesh wrote a few days ago financial Times In a provocative editorial, which however raises some interesting questions about what luxury means today, starting with the flagship products of the big brands, the most recognizable and usually full of logos: «I certainly have a taste I am not a moderator, so it is with some I give the following arguments. It’s bullshit, isn’t it? It’s a naive idea of glamour. Like paying for a blue tick on Twitter, wearing such a thing communicates the opposite of what it should mean: it communicates neediness, efficacy», Mar Ganesh.
It is a provocation, indeed, and in some ways even a bit naive, but it is a valid reflection: at a time when the European, and therefore Italian, approach is no longer – fortunately – neither the only nor the most Wanted, how do we maintain the credibility of our creative industries? How can you tell them, without the stereotypes that come back to haunt us today? If you’ve ever watched videos on TikTok of @tanner.letherstein, the creator who literally destroys luxury bags to explain to his followers the manufacturing process and out-of-pocket costs — real — then you’ll have some idea The story of how luxury today, at least on social networks, is more difficult to control. That’s why Fendi opens the doors of its factory: to show – even to all those who follow the stream and comment live, waiting for pop star Juene of The Boys – Its places, its people, its family, as he told Venturini Fendi journalists.
Instead, he decided to bring all his young surfers to Venice Beach. Ally Russell Linetz, who had his first live fashion show on June 15, 2176 (last year, though, he had a delegation of post-apocalyptic ambassadors at Pitti). landing) collaborated with Dior Men for the Resort 2023 collection). The thirty-year-old designer, sometimes “discovered” by Kanye West in his own way, has his own reference community and with his ERL brand he seems to be one of the few real voices of streetwear: fashion shows perhaps not the expressive medium by choice But if nothing else he was able to create a moment of freshness with – I want to think – a good dose of irony.
Meanwhile, interesting things have happened in recent days, from the Polimoda show, where the best fashion design students’ collections were paraded, to the opening of Gucci Vision at Gucci Garden, to the brand’s celebration awaiting the start of Sabato di Sarno. in September. Finally, the Palazzo Pitti’s Fashion and Costume Museum has reopened, with an exhibition entitled German Maruselli (1905–1983). A visionary at the core of Made in Italy, which proposes to describe one of the fundamental figures of Made in Italy, until September 24, defined as an “intellectual seamstress” by Fernanda Pivano and a “rare interpreter of poetry” by Giuseppe Ungaretti. Organized by the Uffizi Gallery in collaboration with the Germaine Maruselli Association and curated by Silvia Casagrande and Vanessa Gavioli, the retrospective includes approximately one hundred and fifty dresses that reconstruct a backward journey from the 1940s to the 1980s in dialogue with the works of art Are. and jewelry from Italian artists with whom Maruselli collaborated, such as Paolo Scheggi, Pietro Gentili and Getulio Alviani. The exhibition therefore recreates the atmosphere of the cultural salon of the stylist, the basis of his activity in the 1940s and 1950s (and of poets, artists and intellectuals such as Giuseppe Ungaretti, Eugenio Montale and Salvatore Quasimodo, Gillo Dörfels, Lucio Fontana, Massimo . Campigli, Francesco Messina, Bruno Munari, Ettore Sottsass, Gio Ponti, and the philosopher Dino Formaggio) and the atelier designed for them by Paolo Schegi in 1964, so that visitors can enter directly into the place and historical moment in which the Italian ensemble. A lesson that is clearly still useful today.