L'Italo-Americano

www.italoamericano.org 10 THURSDAY, AUGUST 9, 2018 L'Italo-Americano CELIA ABERNETHY G ucci, V alentino, A rmani, D olce & G abbana, and Trussardi – we all know the names and are familiar with the image of these fashion powerhouses, but h ow did Italian fas hion brands establish such a strong hold on the global market? To really understand Italian fashion, we must go back to the 14 th century. During the Renais- sance period the textile industry in Italy flourished. However, industrial advances in the 15 th century pushed France and Eng- land to the forefront of the cloth and textile industry. Thus, Ital- ian production remained small, handmade and woven using only the natural raw materials avail- able. It wasn't until 1861 and the Unification of the Kingdom of Italy that true industrialization begin. Most factories were locat- ed up north in Lombardy and Piedmont, generally close to run- ning rivers that would generate the power of the mills. Silk from Asia was very much in demand and very expens ive, but the Comaschi of the Lake Como region became masters in the art of silkworm breeding and weav- ing. Wool, another abundant resource for textiles, was also being produced in regions such as Biella. It wasn't until after WWI that other fibers w ere introduced to Italy. Weaving man-made materials with natural silk, wool and cotton was revo- lutionary for the fashion industry worldwide. Fashion publications Some of the first Italian fash- ion magazines were published in the late 18th century. Modeled after publications coming out of Paris and London, the Giornale delle Nuove Mode di Francia e d'Inghilterra (Milan, 1786 - 1794) and La Donna Elegante ed Erudita (Venice, 1786 – 1788), offered sketches portraying the modern fashions from France and England, often accompanied by very short articles. In 1804 in Milan, the Corriere delle Dame went to print and was to be the biggest success at the time. It not only provided fashion tips and images, but also politics, culture, and current affairs. It was the first publication that was not a newspaper where fashion, poli- tics and contemporary thought were found within the same pages. With such a forward thinking approach, the Corriere delle Dame was also able to start introducing its own fads such as the "Lombard costume" which meant wearing at least one accessory with a military origin. Following suit, back in the United States, magazines like Vogue (1892) and Harper's Bazaar (1867) were the go to resources for the stylish. Wartime Italian tailoring and dress- making was always a craft prac- ticed and perfected in Italy. Due to scarce supplies during the war, most families had a house- hold member that knew the art of sewing and constructing clothing. Using the French poupée de mode, (paper fashion dolls) and the hard-to-get publi- cations, Italians kept up with the trends of the time with home- made fashion. After WWII, the Americans helped Italy rebuild the economy and the fashion industry was to be key. The European Recovery Program (ERP) was a program that would back Italian industry, provide raw materials such as cotton, as well as training on new equipment and machinery supplied by the government. By the 1950s the tables had turned in the international market, mak- ing Italy a leader in manufactur- ing. Turning point The pivotal turning point for Italian fashion was February 12, 1951 when business visionary Giovani Battista Giorgini invited six of the United States' most powerful buyers and a handful of international journalists to a lavish event hosted in his Flo- rence residence at Villa Torri- giani. It was called the La Sfilata di Alta Moda Italiana, the Italian High Fashion Parade, and fea- tured the designs of the atelier Carosa, Alberto Fabiani, the ate- lier Simonetta, Jole Veneziani, the Sorelle Fontana, Emilio Schuberth, the tailor Vanna of Manette Valente, Vita Noberasko and Germana Marucelli. Emilio Pucci and Giorgio Avolio were included as additions. The six buyers - Jessica Daves and Julia Trissel for Bergdorf Goodman of New York, Gertrude Ziminsky for B. Altman and Company of New York, Ethel Francau, John Nixon for Henry Morgan of Montreal, and Stella Hanania for I. Magnin of San Francisco - were to change the destiny of Italian fashion once and for all. The extraordinary quality of the textiles and craftsmanship far exceeded anything they had seen in other markets. Go North Although the seeds of Italian fashion were planted in Florence, the industry branched out to Rome and Milan. Most of the factories were up north as well as the publications and editors. Today, Milan is still the epicen- ter of ready to wear fashion, whereas Rome is the center of alta moda (high fashion). Flo- rence still holds clout in crafts- manship and training; the Polimoda Fashion Academy is one of the most prestigious in Italy and the Florentine Pitti Uomo is the most important men's fashion season globally. The Original Influencers After Giorgini's fashion show and the ready availability of the garments in high-end department stores, it wasn't long until Holly- wood stars like Audrey Hepburn, Elizabeth Taylor and Grace Kelly were wearing Italian designer wear both in their films and everyday life. In the 60s and 70s, Jaqueline Kennedy, an inter- national style icon, was known for wearing Valentino and Gucci. The red carpets of Hollywood and the catwalks of Milan are two roads that have become one. Richard Gere wore an Armani suit in the 1980 film American Gigolo,in the 90s Gianni Versace designed the costumes for Show- girl. Italian super stars like Sophia Loren and Monica Bel- lucci always wear an Italian designer when in public. The pop music industry and the fashion industry have also found ways to interweave their colors and melodies. Musicians are models and designers are mentioned in lyrics. Italian fashion has entered society in ways Giovanni Battista Giorgini could not have ever imagined. Today Fashion is much more acces- sible. Every designer now has a ready to wear line, a high fashion collection and even intimates and accessories lines. The Italian fashion brands may change, but the style and quality are still adored. Although the seeds of Italian fashion were planted in Florence, the industry branched out to Rome and Milan Today's fashion is much more accessible thanks to ready to wear lines, but the style and quality of Italian brands remains the same LIFESTYLE FASHION FOOD ARTS DESIGN Italian fashion never goes out of style

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