50 Tahun Fesyen Itali
27 Nov 2004 – 30 Jan 2005

Setelah berjaya menggamit perhatian penggemar fesyen di bandar-bandar utama di benua Eropah dan Latin Amerika, pameran 50 TAHUN FESYEN ITALI kini tiba di Malaysia atas usahasama Balai Seni Lukis Negara dan Kedutaan Besar Itali di Malaysia, di bawah tajaan Penerbangan Malaysia (MAS).

Pameran fesyen terkemuka ini turut menerima sokongan daripada 5 pihak iaitu AMS, Finmeccanica, Persatuan Perniagaan Itali Malaysia, Eau Claire, dan Fincantieri.

50 TAHUN FESYEN ITALI berjaya diwujudkan atas gabungan idea antara Fiorella Galgano dan Allessia Tota iaitu dua penggiat seni dan fesyen dari organisasi Studio Galgano di Rom dengan sokongan Kementerian Luar Negeri Itali.

Kini ia akan berlangsung di Galeri 2A Balai Seni Lukis Negara berikutan Majlis Perasmian yang disempurnakan oleh YAB Datin Paduka Seri Endon Mahmood, isteri kepada Perdana Menteri Malaysia pada hari Sabtu, 27 November 2004, jam 11.00 pagi.

Usaha mengadakan pameran ini di ibukota Malaysia bukan sekadar meningkatkan martabat dan prestij Kuala Lumpur sebagai sebuah bandaraya berfesyen antarabangsa tetapi juga memperlihatkan ikatan dua buah negara – Malaysia dan Itali – yang sedia terjalin semakin erat di samping saling menaruh hormat dan keyakinan. 

Malah, dengan adanya penganjuran pameran seumpama ini, Balai Seni Lukis Negara sebagai sebuah agensi untuk semua lapisan rakyat negara ini sekali lagi menekankan misinya untuk mempersembahkan pameran berkualiti tinggi yang tidak hanya memenuhi tuntutan selera golongan masyarakat elit semata-mata, tetapi paling utama kalangan khalayak ramai turut dapat merasai faedah dan keseronokannya.

Dirasmikan di tengah kehangatan sambutan Minggu Fesyen Kuala Lumpur-Asia 2004 (Kuala Lumpur- Asian Fashion Week), pameran 50 TAHUN FESYEN ITALI dijangkakan turut memeriahkan lagi acara fesyen penuh glamor selama 9 hari itu.

50 TAHUN FESYEN ITALI membariskan 43 nama terpenting dalam Haute Couture dan Pret-a-Porter Itali, iaitu: Alberta Ferretti, Alviero Martini, Antonio Marras, Bonaveri, Brioni, Egon von Furstenberg, Emilio Federico Schuberth, Enrico Coveri, Etro, Fausto Sarli, Fendi, Gai Mattiolo, Galitzine, Gattinoni, Genny, Gherardini, Gianfranco Ferré, Giorgio Armani, Gucci, Helietta Caracciolo, Krizia, Lancetti, Laura Biagiotti, Litrico, Lorenzo Riva, Luciano Soprani, Marella Ferrera, Mariella Burani, Missoni, Moschino, Nazareno Gabrielli, Prada, Raffaella Curiel, Renato Balestra, Roberta di Camerino, Roberto Cavalli, Salvatore Ferragamo, Sergio Valente, Sorelle Fontana, Trussardi, Valentino, Versace, and Walter Albini.

Diperjelaskan kepada khalayak melalui format imajan grafik, filem dan kostum bersejarah yang digayakan pada patung artistik Bonaveri bersama teks penceritaan rekaan, pameran ini cuba meriwayatkan hasil ciptaan tokoh-tokoh fesyen Itali bermula dari kelahiran Haute Couture pada era 1950an hingga kini. Objek-objek luarbiasa dan asli ciptaan beberapa orang pereka perhiasan diri dan barangan kemas terkemuka turut dipamerkan. Setiap pereka diberi satu ruang khas dengan tujuan menyerlahkan fesyen rekaan dan citarasa masing-masing.

50 TAHUN FESYEN ITALI sebenarnya sebuah pameran bergerak yang bermula di bandar Mexico City pada tahun 1998. Dari situ pameran telah bergerak ke Bogotà (1998), Brasilia (1999), San Paolo (1999), Rio de Janeiro (1999), Niteroi (1999), Curitiba (1999), Montevideo (2000), Antigua Guatemala (2001), Panama (2001), Lima (2001) dan Tokyo (2001). Tempat persembahan pameran termasuklah muzium-muzium awam yang penting seperti Kompleks Kebudayaan Julio Préstes di San Paolo, Bellas Artes di Rio dan Mexico City, Muzium Peringatan Curitiba di Brazil, Muzium Kesenian Itali di Lima and Muzium Odakyu di Tokyo. Seterusnya pameran telah dibawa ke Eropah: di Muzium des Tissus et Art Decoratif (Lyon, 2003) dan pusat pameran Koningin Fabiolazaal (Antwerp, 2003). Pameran juga berlangsung di negara-negara lain di Asia: Seoul, Mei 2002 (di Institut Reka Bentuk Korea); Hanoi, Mei 2002 (di Pusat Kebudayaan Melià); Tianjin, Jun 2002 (di Laman Perniagaan Itali); New Delhi, Oktober 2002 (di Kediaman Duta Besar Itali); Mumbai, Disember 2002 (di Panggung Tata); dan di Calcutta, Februari 2003 (Muzium Peringatan Victoria).

Antara karya yang dipamerkan ialah baju rekaan E. F. Schuberth yang dirakamkan dalam Ensiklopedia Seni Fesyen 1950, bersama baju dan kot beliau yang diperbuat keseluruhannya daripada fabrik emas pada tahun 1958 (koleksi peribadi Mariella Giurato, sepupu kepada Luca Giurato, wartawan Itali yang terkenal). Turut dipamerkan ialah Baju Cassock oleh Sorella Fontana – yang buat pertama kalinya telah digayakan oleh Ava Gardiner pada 1956 dan kemudiannya digayakan semula oleh Anita Ekberg dalam filem arahan Fellini yang berjudul "La Dolce Vita" (1960) – sebuah rekaan yang menyimbolkan penyatuan antara fesyen dan filem. Baju "Bottiglietta" oleh Gattinoni (1991); pakaian "Pijama Palazzo" ciptaan Galitzine yang menjadi trend popular setelah diperagakan oleh Claudia Cardinale dalam filem "The Pink Panther" (1963); baju korset berharga yang direka oleh Luciano Soprani untuk bintang filem Jacqueline Bisset dalam kisah "The Wild Orchid" (1988); baju kain tulle dengan labuci dan sulaman emas yang digayakan oleh pelakon terkenal Cate Blanchett (rekaan Prada, 2000); baju sifon yang ditempah khas untuk pelakon kelahiran Ukraine Milla Jovovich sempena tayangan perdana filemnya "Joan of Arc" di Los Angeles (juga rekaan Prada, 1999); jaket jamuan malam Rossano Brazzi rekaan Litrico (1958); sut yang dijahit khas untuk bintang lagenda John Wayne and Clark Gable (Brioni, 1950); baju rekaan Valentino yang terkenal dengan penggunaan warna merah (digayakan oleh pelakon/model Inggeris Elizabeth Hurley di majlis amal Estée Lauder di London pada 1998); dan gaun malam Sarli yang diilhamkan oleh model Valeria Mazza turut dipertontonkan. Pengunjung akan berpeluang menyaksikan stail mudah-kenal yang menjadi lambang keperibadian setiap pereka: potongan tipikal dan ala-maskulin jaket malam wanita "Regimental" rekaan Giorgio Armani dengan sulaman warna biru dan emasnya (1991); baju labuci "Urlo di Donna" oleh Enrico Coveri (1997); baju "Gadis Genit" rekaan Laura Biagiotti (2002); textile ala-etnik ciptaan Etro (2000); baju buatan manik kristal Swarovski yang mencerminkan sifat Versace yang gemarkan kemewahan dan suka menunjuk-nunjuk (1998/1999); dan baju "Imajan Donatella" – baju corak "hutan" yang setelah digayakan oleh pelakon popular Jennifer Lopez terus menjadi tumpuan jurugambar dan media pada tahun 2000. Antara bahan pameran yang menggambarkan penyatuan antara fesyen dan kebudayaan ialah: baju "Carmen" yang dibuat khas oleh Renato Balestra sebagai kenangan buat penyanyi opera terkenal Maria Callas (1996); fesyen rekaan Lancetti yang diilhamkan oleh Picasso (1986/87); juga pakaian rekaan Raffaella Curiel (1984) yang diinspirasikan oleh pelukis Austria Egon Schiele. Tidak lupa juga fesyen bon ton atau elit dari koleksi Haute Couture Lorenzo Riva termasuk pakaian pengantin yang diciptanya untuk Puteri Bianca dari Aosta (1995); dan sulaman yang meriah serta catan lukisan tangan oleh Gai Mattiolo. Turut dipertontonkan ialah hasil kerja Marella Ferrera yang giat mengkaji selidik kegunaan bahan canggih dalam fesyen arca figuranya. Rekaan uniknya diperbuat daripada cebisan mozek sulaman tangan yang diinspirasikan oleh tangga di S. Maria del Monte di Caltigirone, sebuah monumen terkenal yang dilindungi oleh UNESCO sebagai warisan dunia. Pameran juga memperkenalkan Walter Abini, juru gaya pertama fesyen sedia-pakai (ready-to-wear); Tom Ford, perancang yang bertanggungjawab memberi Gucci nafas hidup baru; fesyen gaya sofistikated Gianfranco Ferré; cetakan sutera oleh Roberto Cavalli; fesyen Mariella Burani yang terkenal dengan ciri kewanitaannya; unsur sensual daripada Genny; stail "padu padan" Missoni; fesyen berlisu oleh Krizia; hasil kreativiti Moschino yang menunjukkan sifat suka main-main atau bergurau; dan sentuhan lembut halus Alberta Ferretti. Egon Von Furstenberg dengan gaya serba indahnya; fesyen Antonio Marras yang dihasilkan berdasarkan inspirasi imajan "Madonna Hitam" iaitu simbol yang amat dihormati oleh pelombong-pelombong di daerah Sardinia, Itali; fesyen bulu dan beg "Baguette" sutera emas Fendi dengan gaya dan mutu ketukangannya yang sukar ditiru; serta hasil rekaan terunggul barangan kulit dari Trussardi turut diperkenalkan. Koleksi juga disempurnakan dengan persembahan barangan aksesori yang sinonim dengan nama-nama celebriti: beg jamuan malam berbentuk bulat yang pertama – direka khas oleh Helietta Caracciolo untuk Jacqueline Kennedy (1975); rantai leher yang digayakan oleh Nancy Reagan; subang yang ditempah khas untuk Hillary Clinton; beg kegemaran Puteri Grace Kelly iaitu beg "Bagonghi" rekaan Roberta di Camerino (1959); sandal yang dipakai oleh penyanyi dan pelakon terkenal Madonna dalam filem "Evita" – replika rekaan asli yang dikeluarkan oleh Salvatore Ferragamo untuk Puan Evita Peròn sendiri; kasut penari balet yang dipakai oleh pelakon Audrey Hepburn dalam filemnya "Roman Holiday"; barangan kulit bermutu Nazareno Gabrielli yang sentiasa popular; sentuhan kreatif oleh Gherardini; dan gaya tersendiri rekaan barangan hiasan serta aksesori oleh pereka dan pengembara Alviero Martini dari siri 1A Classenya. Sebagai pengakhir koleksi, stail hebat Sergio Valente – juru gaya rambut yang senantiasa menjadi penyangga di acara atau koleksi penting selama ini – turut dipilih untuk dipaparkan dalam pameran ini.

Sejarah Fesyen Itali

Pada tahun 1951, Marchese Giovan Battista Giorgini, seorang bangsawan Itali ketika itu mendiami sebuah vila cantik di Florence, iaitu Villa Torrigani di Via de'Serragli, 146 bersama keluarganya. Giorgini yang pada masa itu bertugas di aras satu bangunan Palazzo Bartolini-Salimbeni yang bersejarah merupakan "pembeli residen" untuk gedung-gedung beli-belah di Amerika dan hanya mengendalikan barangan artistic untuk cenderahati dan perhiasan sahaja.

Sekembalinya dari Amerika, Giorgini telah mendapat ilham dari pertemuannya dengan Dauphiné, wartawan Il Mattino dan Il Nuovo Corriere semasa di dalam kapal pelayaran. Sebenarnya beliau sudah lama menaruh minat terhadap fesyen dan barangan antik (malah beliau juga adalah orang pertama yang mengimport topi jerami Florentine ke Amerika). Pada waktu itu, label "Buatan Itali" masih sinonim dengan istilah "murah" dan "berkualiti rendah". Dari kaca mata orang luar, Itali pada zaman pasca-perang hanya dilihat sebagai satu daya tarikan pelancong sahaja. Wilayah semenanjung menjadi pilihan ramai sebagai destinasi percutian, dan tempat yang paling menarik ialah Florence yang terkenal dengan keindahan Tuscany dan hasil kerja seninya. Ruangan sosial di dalam akhbar sering dipenuhi dengan berita parti anjuran golongan bangsawan Florentine. Keindahan vila dan taman memberi golongan ini kebebasan untuk menganjurkan pelbagai majlis kebudayaan dan sosial untuk tetamu terbilang – antaranya personaliti bertaraf dunia dari bidang kesenian dan kebudayaan, ahli politik berpengaruh, bintang filem terkemuka, dan ahli korporat berjaya.

Tradisi menjahit pakaian bermutu sememangnya sudah wujud di Itali sejak penghujung kurun ke-19 dan dipelihara oleh tukang-tukang jahit yang mapan. Ramai daripada mereka, seperti Simonetta Visconti atau nama lainnya Biki, merupakan teman rapat Giorgini dan juga ahli kelas atasan Milan dan Rom. Giorgini kerap menemani isteri pelangan-pelanggan kayanya ke kedai rakan-rakannya, di mana beliau mendapati wanita-wanita tersebut seringkali tidak mampu menahan diri daripada membeli barangan Itali. Malah Guilia Trissell, seorang pembeli dari salah sebuah syarikat terkenal di Amerika turut membeli beberapa model pakaian, antaranya sehelai kot luar. Beliau kemudiannya meniru semula rekaannya dan seterusnya berjaya melariskannya di pasaran Amerika.

Dalam usahanya memperkenalkan fesyen jenama Itali di persada antarabangsa, Giorgini mengambil keputusan untuk bekerjasama dengan pereka-pereka Haute Couture terkenal di Itali pada ketika itu, yang mana masih menghasilkan fesyen berlaraskan gaya Perancis. Walaupun bukan semua yang yakin dengan cadangan Giorgini, ramai juga yang setuju mengambil bahagian dalam satu acara yang dianjurkannya pada petang 12 Februari 1951. Acara yang diadakan di Villa Torrigani itu telah menghimpunkan sekumpulan "nama besar": Carosa (Puteri Giovanna Caracciolo), Fabiani, Simonetta Visconti, Emilio Schuberth, Sorelle Fontana, Jole Veneziani, Vanna Noberasko, Germana Marucelli, Marchese Emilio Pucci dan "Mirsa" atau Marchesa Olga de Gresy. Turut hadir sama ialah Baroness Galloti yang terkenal dengan nama julukannya "Penenun di Pulau". Beliau telah mempamerkan koleksi pakaian sukan, pantai dan ski. Sementara Franco Bertoli dan Giulano Fratti pula datang dengan rekaan perhiasan diri dan barangan kemas mereka. Selama tiga hari, hanya rekaan yang asli sahaja dipertontonkan kepada para pembeli awam, yang mana ramai adalah daripada kalangan pelanggan setia Giorgini.

Demikianlah, pada 12 Februari 1951, Fesyen Itali dilahirkan "di bawah zodiak Aries", di hadapan lapan pembeli awam dari Amerika, media massa Itali dan Elissa Massai dari Women's Wear Daily (satu-satunya wartawan asing yang juga rakan kepada Giorgini), wakil dan peragawati dari butik-butik fesyen, teman terdekat dan tetamu jemputan Giorgini yang berada di kediaman mewah beliau.

Acara yang dianjurkan julung kali itu cukup berjaya sekali. Bahkan Giorgini terpaksa memindahkan acara seterusnya pada bulan Julai ke Grand Hotel (biarpun ia masih tidak mempunyai kelengkapan secukupnya dan tiada cat-walk) memandangkan beliau telah dibanjiri lebih daripada 300 permintaan untuk kad jemputan. Taman indahnya di Via de'Serragli pula dijadikan tempat sebuah majlis gala. Semenjak itu, nama Sala Bianca di Palazzo Pitti mulai harum sebagai tapak untuk perkembangan koleksi yang terbaik.

Kini, fesyen Itali tidak lagi dipandang rendah tetapi cukup sinonim di mana-mana sahaja sebagai memiliki gaya terhebat, unggul dan berkualiti. Ia juga menandakan pemusatan perniagaan, pasaran dan saham pada bursa saham. Perkataan seperti "penampilan", "aliran" dan "citarasa" menjadi istilah teknikal yang mampu mempengaruhi strategi perbelanjaan dan global. Namun kreativiti dan kemahiran pertukangan industri di sebalik label "Buatan Itali" masih kekal sebagai satu jaminan untuk produk yang tetap dicari di seluruh pelusuk dunia.

Pameran 50 TAHUN FESYEN ITALI sebenarnya satu penghormatan terhadap tokoh-tokoh yang selama ini berjaya mengetengahkan nilai estetika gaya tersendiri di persada dunia. Hakikatnya budaya dan seni itu merangsang pereka untuk mengembangkan, memperbaiki dan mencetuskan ilham mereka pada setiap musim. Pereka seperti juga artis dipengaruhi oleh perubahan nilai sosial; mereka menjadi penterjemah keadaan pemikiran. Bahasa fesyen adalah bahasa semangat, sama ada bagi pihak pereka mahupun pemakai. Apabila dipertemukan, pastinya bual-bicara akan tertumpu pada kemahiran mencipta. Bagi menghasilkan fesyen, seseorang itu mestilah berani, berbudaya, bercitarasa dan mempunyai deria estetik serta paling utama memiliki ilham. Hanya apabila syarat-syarat itu dipenuhi, barulah setiap rekaan dapat bertahan diuji masa dan seterusnya berjaya menjadi satu sejarah.

(Sebahagian dipetik dari tulisan Fiorella Galgano, wartawan dan sejarahwan fesyen.)

50 Years of Italian Fashion
27 Nov 2004 – 30 Jan 2005

Continuing its tour of the East following successful showings in major cities in Europe and Latin America, the 50 YEARS OF ITALIAN FASHION exhibition will be inaugurated on Saturday, 27 November 2004, at 11.00 am at the National Art Gallery by Yang Amat Berbahagia Datin Paduka Seri Endon Mahmood, wife of the Prime Minister of Malaysia.

The exhibition – initiated by Fiorella Galgano and Alessia Tota of the Rome-based Studio Galgano with the support of the Italian Foreign Ministry – was brought to Malaysia jointly by the National Art Gallery, the Embassy of Italy in Malaysia and Malaysia Airlines as the Prominent Sponsor.

Five other organisations have also graciously lent their sponsorship: AMS, Finmeccanica, Italian Malaysian Business Association, Eau Claire, and Fincantieri.

Presenting the prestigious exhibition in the capital city of Malaysia not only reflects the rising portfolio of Kuala Lumpur as an international fashion-savvy city, it is a reflection of the increasing ties and mutual confidence between Italy and Malaysia.

Further, by hosting this event, the National Art Gallery of Malaysia reaffirms its ongoing commitment to present high-quality exhibitions not only for the pleasure of the elite section of the society, but more importantly for the benefit and enjoyment of the masses as well.

Opening in the midst of the Kuala Lumpur-Asia Fashion Week 2004, 50 YEARS OF ITALIAN FASHION is also expected to lend an added frisson of excitement to the dazzling 9-day fashion affair.

43 important names in Haute Couture and Pret-à-Porter are taking part: Alberta Ferretti, Alviero Martini, Antonio Marras, Bonaveri, Brioni, Egon von Furstenberg, Emilio Federico Schuberth, Enrico Coveri, Etro, Fausto Sarli, Fendi, Gai Mattiolo, Galitzine, Gattinoni, Genny, Gherardini, Gianfranco Ferré, Giorgio Armani, Gucci, Helietta Caracciolo, Krizia, Lancetti, Laura Biagiotti, Litrico, Lorenzo Riva, Luciano Soprani, Marella Ferrera, Mariella Burani, Missoni, Moschino, Nazareno Gabrielli, Prada, Raffaella Curiel, Renato Balestra, Roberta di Camerino, Roberto Cavalli, Salvatore Ferragamo, Sergio Valente, Sorelle Fontana, Trussardi, Valentino, Versace, and Walter Albini.

50 YEARS OF ITALIAN FASHION is an exhibition which, by means of graphics, film projections and historical costumes displayed on Bonaveri artistic manikins, seeks to tell the story of the protagonists of the "Made in Italy" label, each with their own individual style, from the glorious birth of haute couture in 1950, up until the present day. A series of unusual objects and original designs, by expert creators of accessories and costume jewellery, are also on display. All this in a layout designed to show the gradual development of Italian fashion, in which each designer has his own exhibition space.

50 YEARS OF ITALIAN FASHION continues the journey begun in 1998 in Mexico City, followed by Bogotà (1998), Brasilia (1999), San Paolo (1999), Rio de Janeiro (1999), Niteroi (1999), Curitiba (1999), Montevideo (2000), Antigua Guatemala (2001), Panama (2001), Lima (2001) and Tokyo (2001); held in such important public museums as the majestic Julio Préstes Cultural Complex in San Paolo, the Bellas Artes of Rio and Mexico City, the Curitiba Museo Memorial of Brazil, the Italian Museum of Art of Lima and the Odakyu Museum of Tokyo. Then it was Europe: at the Museé des Tissus et Art Decoratif (Lyon, 2003); and the Koningin Fabiolazaal exhibition centre (Antwerp, 2003). The exhibition was also brought to the Far East: in Seoul, May 2002 (Korean Institute of Design); Hanoi, May 2002 (Melià Cultural Centre); Tianjin, June 2002 (Italian Business Park); New Delhi, October 2002 (The Ambassador of Italy Residence); Mumbai, December 2002 (Tata Theatre); Calcutta, February 2003 (Victoria Memorial Museum).

Items on display, all kindly made available by the individual designers, include the original dress by E. F. Schuberth, photographed in the 1950 Fashion Encyclopaedia, together with his dress and coat made entirely from gold fabric in 1958 (from the private collection of Mariella Giurato, cousin of Italian journalist Luca Giurato). Designs, such as the Cassock Dress, by the Sorelle Fontana, first worn by Ava Gardiner (1956) and then used again by Anita Ekberg in Fellini's film "La Dolce Vita" (1960), representing the marriage in the past between fashion and cinema; Gattinoni's "Bottiglietta" Dress (1991); Galitzine's famous trend-setting "Palazzo Pyjamas", worn by Claudia Cardinale in "The Pink Panther" (1963); the precious corset-dress designed by Luciano Soprani for Jacqueline Bisset in "The Wild Orchid" (1988); the tulle, sequin and gold-embroidered dress, worn by actress Cate Blanchett (2000) and the chiffon dress designed for Milla Jovovich for the Los Angeles première of her film, "Joan of Arc" (1999), both by Prada; Rossano Brazzi's dinner jacket designed by Litrico (1958); the suits made for John Wayne and Clark Gable by Brioni (1950); the ever-present Valentino red, worn by actress Elizabeth Hurley at Estée Lauder's Charity (London -1998); Sarli's evening dress, inspired by model Valeria Mazza are also featured. Viewers will see the instantly-recognisable style symbolising the personality of each single designer such as: the typical, masculine cut of Giorgio Armani's "Regimental" woman's dinner jacket, embroidered in blue and gold (1991); Enrico Coveri's "Urlo di Donna" sequin dress (1997) and the famous "Doll" Dresses by Laura Biagiotti (2002). The magic of Etro's strong, ethnic-style fabrics (2000); the expression of Versace's love of luxury and ostentation in a dress made of Swarovski crystal-beads (1998/99) and "Donatella's image",  the much-photographed "Jungle" dress, worn by actress and singer Jennifer Lopez (2000) are also among the highlights. Fashion meets culture with Renato Balestra's "Carmen" dress, dedicated to Maria Callas (1996); and the clothes by Lancetti, inspired by Picasso (1986/87); as well as those by Raffaella Curiel (1984), inspired by Schiele. There is the "bon-ton" of Lorenzo Riva's Haute Couture with his wedding dress designed for Princess Bianca of Aosta (1995); the rich embroidery and hand-painting of Gai Mattiolo; Marella Ferrera's research and use of sophisticated materials for her sculpture-dress, made up of hand-embroidered mosaic pieces, inspired by the steps of S. Maria del Monte di Caltagirone, a famous monument under the protection of UNESCO World Heritage. Viewers are also introduced to Walter Albini, the first stylist for ready-to-wear fashion; the unmistakable Tom Ford and his Gucci style; the sophistication of Gianfranco Ferré; the printed silk by Roberto Cavalli, Mariella Burani's gift for emphasising femininity; the sensuality of Genny; the Missoni "put-together" look; the Krizia pleats; the irreverent creativity of Moschino and Alberta Ferretti 's lightness of touch. Egon Von Furstenberg's regal style; the "Black Madonna" of Antonio Marras, revered by Sardinian miners; the unique and inimitable craftsmanship of the Fendi furs and legendary gold-silk "Baguette"; the masterly workmanship of Trussardi in the use of leather are expected to capture the imagination of the public. The extensive collection is rounded off with the presentation of accessories linked with the names of celebrities: the first round-shaped evening bag made for Jacqueline Kennedy (1975) by Helietta Caracciolo; the necklace worn by Nancy Reagan; the earrings made for Hillary Clinton; Roberta di Camerino's "Bagonghi" handbag, a favourite of Princess Grace Kelly's (1959); the sandals worn by Madonna in "Evita" (exact copies of those made by Salvatore Ferragamo for Evita Peròn); the Audrey Hepburn "ballerina" shoes from "Roman Holiday"; the ever-popular design of the leather-goods by Nazareno Gabrielli; the creative taste of Gherardini; the first of the historical hand-bag trademarks; and the unmistakable style of the 1A Classe line and accessories by designer-traveller, Alviero Martini. And last but not least, the fantastic, creative hair-styling of Sergio Valente, present – over the years – at every important collection.

The History of Italian Fashion

In 1951, the Marchese Giovan Battista Giorgini lived with his family in Florence, in the beautiful Villa Torrigiani, in Via de'Serragli, 146.  Working on the first floor of the historic Palazzo Bartolini-Salimbeni, Giorgini, who was the "resident buyer" for large American department stores, only dealt in artistic articles for gifts or decoration.

Returning from the States, an idea came to Giorgini when he met Dauphiné, correspondent of Il Mattino and Il Nuovo Corriere, on board the liner. For some time he had been considering fashion as well as antiques (it was he who first imported Florentine straw hats into the USA). Up until then the "Made in Italy" label had been synonymous with "cheap": shoddy, poor-quality items. To the eyes of foreigners, post-war Italy represented only a tourist attraction. The peninsular was chosen as an ideal place for a holiday. The most desirable spot was Florence, with its famous and beautiful works of art, and Tuscany. The social pages were full of the parties given by the Florentine nobility.  The beautiful villas and their magnificent gardens were opened to cultural and social events and to the city's illustrious guests: world-famous personalities in the field of art and culture, influential international politicians, film stars, powerful magnates of industry.

The tradition of high-class dressmaking, which had already existed in Italy from the end of the 19th century, was carried on by established dressmakers, many of whom, such as Biki or Simonetta Visconti, a personal friend of Giorgini, were members of Milan and Rome high-society. To these dressmakers, Giorgini accompanied the wives of his wealthy clients, who were often unable to resist the temptation of buying something Italian. Even Giulia Trissell, a buyer for one of the most important American companies, bought several models, among others an overcoat which she then had copied and sold on the American market with great success.

In an effort to launch on the international market the Italian fashion, Giorgini then thought of recruiting the most prestigious names in Italian Haute Couture, still largely subservient in "copying" French fashion. Not all were convinced, but many took part in the event held on the afternoon of 12 February 1951, which brought together, in the splendid Villa Torrigiani, the first group of "names", all to remain famous: Carosa (Princess Giovanna Caracciolo), Fabiani, Simonetta Visconti, Emilio Schuberth, the Sorelle Fontana, Jole Veneziani, Vanna Noberasko, Germana Marucelli, the Marchese Emilio Pucci. Also attending that day was Baroness Gallotti, "The Island's Weaver", presenting her sporting, beach and ski-wear. Franco Bertoli and Giulano Fratti were there too, with their beautiful accessories and costume jewellery; as were with "Mirsa", or the Marchesa Olga de Gresy. For three days, highly original models were shown to a public of buyers from among the most devoted fashion houses from Giorgini's vast clientele.

And so, on 12 February 1951 – practically-speaking under the Sign of Aquarius – Italian Fashion was born before a public of eight American buyers, members of the Italian press and Elisa Massai of the Woman's Wear Daily (the only foreign correspondent, a friend of Giorgini's), representatives of the fashion houses and their models, and other personal friends and guests of Giorgini in his splendid home.

The event was so successful that, when the next meeting was organised for the following July, more than 300 requests for invitations came in from journalists and buyers, forcing Giorgini to transfer the fashion show to the Grand Hotel (still not equipped and without a cat-walk); saving, instead, the splendid park of his house in Via de'Serragli for a grand gala ball. Successively the Sala Bianca of Palazzo Pitti became the scenario for a growing crescendo of the best collections.

Today, Italian Fashion is everywhere synonymous with good taste, elegance and quality; it also signifies a concentration of business, markets, and shares on the stock exchange. Words such as "look", "trend", "feeling" have become the raw, technical terms relating to the huge figures in important budgets and global strategy. But despite this, the creativity and industrial artisanship represented by the wonderful "Made in Italy" label still lives on, as a guarantee of products that are coveted and sought after the world over.

50 YEARS OF ITALIAN FASHION pays homage to the talent of some of those personalities who, over the years, have succeeded in imposing their own personal aesthetic taste upon the world. Art and culture stimulate a designer's creativity, causing him to elaborate, improve and transform his own ideas every season. Designers, like artists, are conditioned by social change; they become the ultimate interpreters of states of mind. Fashion language is the language of the spirit: both of the creator and the wearer; and when both meet we may speak of creative skill. To create fashion, one must be bold, cultured, possess taste and aesthetic sense, and above all have ideas. Only then will these creations stand the test of time and go down into history.

(Reference: Writing of fashion journalist and historian, Fiorella Galgano.)