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FASHION

D&G fly the flag for Italy and sensuality

Dolce and Gabbana kept the flag of sensuality flying in Milan on Sunday with an unabashed celebration of everything that makes Italy a beacon for pleasure lovers the world over.

D&G fly the flag for Italy and sensuality
The spring/summer collection from Dolce and Gabbana harks back to a golden age of Italian fashion. Photo Giuseppe Cacace

On the penultimate day of a fashion week in which visions of what women will be wearing next summer have been dominated by the quirky, the sporty and the nautical, the Sicilian duo offered a typically sexy and nostalgia-sodden reminder that maybe there is not so much about the country that needs updating.

“Italia is Love” they called it, but the message might better have been summed up as “Italia is loved” as the audience was taken on a tour of the country's iconic historic sights to the strains of Dean Martin singing “On an Evening in Roma,” and “That's Amore”.

Embroidery was on almost everything, from Capri trouser suits to figure-hugging black mini dresses in what one half of the design duo, Stefano Gabbana, said was a tribute to the post-World War II tailors who helped create the status of modern Italy as a magnet for tourists from all over the planet.

“The starting point was a book we found about the history of Italian fashion,” Gabbana said backstage after the show. “We are actually in it! – I said to Domenico (Dolce) 'My God we have to start doing something different!”

Deprived of fabrics and with some foodstuffs in scarce supply, the disease-haunted aftermath of World War II was a bleak time for Italy.

But it was also a time of extraordinary improvisation and creativity which laid the foundations for the decades of rapid expansion that were to follow, a genius for design helping to make the once impoverished country a export-fuelled economic power.


Photo: Giuseppe Cacace

“At that time, in Rome and the rest of Italy, the tailors started to make simple lines, simple outfits with embroidery, hand-crafted embroidery from home,” Gabbana said.

“One would be made from a table cloth, another one made from buttons, another one painted.”

“This trend started and they called it boutique. It was the beginning of pret-a-porter.”

“So it was very Dolce and Gabbana because we worked in this mood for a long time.”

The message has a particular relevance at a time when, as he tries to shake up the country in many different ways, Italy's reformist Prime Minister Matteo Renzi is also making great efforts to urge the nation to take heart from the extraordinary heritage of the country.

“We are Italian. We know exactly what we have in the blood but we don't realize because we live in it,” said Gabbana.

“Every day we can see the Tower of Pisa or the Colosseum or Milano or the Amalfi Coast.

“For the people from outside it is very different, it is a surprise.”

And through Alta Moda (as the tailoring movement after the war came to be known) we discovered this because our customers they come from all different countries.

“All these people, they love to come here. They come for food, for clothing, to do shopping to do everything.”

And through a celebration of Italy's past, Gabbana said they were also paying tribute to the Chinese, Russian and American customers who have helped turn their own modest tailoring outfit into a multi-billion dollar business.

And like Renzi, they believe a celebration of the past is a good starting point for Italy to make the changes it needs after a decade and a half of marking time economically and, some would say, creatively as well.

“We know that Italy is not like this today,” Gabbana added. “It is a wish. We have this memory and we would love to bring it back.”

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FASHION

Paris exhibition celebrates 100 years of French Vogue

A new exhibition in Paris will tell the story of 100 years of French Vogue - from the post-war 'New Look' of Christian Dior through the sexual liberation of the 1960s to the dangling-cigarette waifs of the 2000s.

French Vogue celebrates 100 years
French Vogue celebrates 100 years. Photo: Thomas Olva/AFP

But as well as celebrating the magazine’s storied history, the exhibit comes at a time of turbulence for the publication.

Just last month, it was confirmed that its editor of 10 years, Emmanuelle Alt, was out and wouldn’t be replaced.

She was not alone.

Looking to cut costs, owner Conde Nast International has axed editors across Europe over the past year, and put international Vogue editions under the direct control of global editorial director, Anna Wintour, in New York.

New York-based Anna Wintour now has overall control of French Vogue. Photo by Christophe ARCHAMBAULT / AFP

Like much of the media industry, Vogue is struggling with tumbling sales and ad revenue in the digital era.

But the latest twist is also part of the endless push and pull between New York and Paris going back to its early days.

“The whole history of French Vogue is one of back-and-forth with Conde Nast in New York – growing more independent for a while, then being reined back in,” said Sylvie Lecallier, curator of the new exhibition, “Vogue Paris 1920-2020″, which opened this weekend after a year’s delay due to the pandemic.

The Paris edition was often the loftier, more bohemian sibling to its more hard-nosed New York version.

But it was also the hotbed in which much of 20th century style and womenhood came to be defined.

“Paris was the place to hunt out talent and content and bring it to New York,” said Lecallier.

The exhibition charts the evolution from art deco drawings of the 1920s through the erotic image-making of photographers like Helmut Newton in the 1960s and 1970s.

Its last peak was under editor Carine Roitfeld in the 2000s, who brought back a provocative Gallic identity by ridding the newsroom of foreign staff and becoming a fashion icon in her own right.

Her successor, Alt, was a quieter presence, though she still oversaw key moments including its first transgender cover star, Brazilian Valentina Sampaio, in 2017.

But internet culture has created “a perfect storm” for Vogue, says media expert Douglas McCabe of Enders Analysis.

“The first 80 years of Vogue’s life, it had the market to itself, it was the bible for fashion,” McCabe told AFP.

“But online today, there are so many other ways to get your information. Influencers, Instagram, YouTube — everyone’s a threat.”

In a world where new fashion trends can blow up around the world in seconds, it has become much harder for a monthly magazine to set the pace.

“It’s not that they can’t survive for another 100 years — but they will be differently sized,” McCabe said.

Vogue has tried to branch out into different areas, including events.

“I used to work for a magazine, and today I work for a brand,” Alt said on the eve of French Vogue’s 1,000th issue in 2019.

But the big money was always in print, and Vogue Paris sales are dropping steadily from 98,345 in 2017 to 81,962 to 2020, according to data site ACPM.

It is perhaps unsurprising that the new top job in Paris, redefined as “head of editorial content”, went to Eugenie Trochu, who was key to building the magazine’s online presence.

She declared herself “thrilled to be part of Vogue’s international transformation”.

For the curator of the exhibition, it is ironic timing.

“We had no idea it would end like this when we started work on the exhibition,” said Lecallier.

“Who knows where it will go from here.”

The exhibition Vogue Paris 1920-2020 is at the Palais Galliera in Paris’ 16th arrondissement. The gallery is open 10am to 6pm Tuesday to Sunday and is closed on Mondays. Tickets for the exhibition are €14 (€12 for concessions and under 18s go free) and must be reserved online in advance. 

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