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FASHION

Cardinal cut: Italy’s tailor to the stars of the Church

Raniero Mancinelli cannot afford to drop a stitch. Pope Francis is creating five new cardinals next week and the race is on to have their scarlet robes ready in time.

Cardinal cut: Italy's tailor to the stars of the Church
Italian tailor Raniero Mancinelli, 80, working on a cardinal robe. Photo: Vincenzo Pinto/AFP
The Italian tailor's family shop, located just outside the walls of Vatican City, hums to the sounds of customers from every corner of the Catholic world.
 
As a Filipino nun sizes up the least expensive chalice on offer from one display, a young Brazilian priest is buying reams of gold embroidery.
 
Nearby an Irish colleague is squeezing into a shiny liturgical robe that comes in just one size.
 
Mancinelli, who turns 80 next month, is on first name terms with many of his visitors. “You'll be the first black pope!”, he jokes with one African bishop, who shoots back, “I hope not!”
 
 
But there is little time for tomfoolery. In the workroom at the back of the shop the veteran craftsman's trusty “Necchi” sewing machine from the 1950s is waiting, and half-finished cassocks and mozzettas (short capes) hang from a rail.
 
The machine runs like a “Ferrari”, the outfitter says. But it still takes him at least a week to make each new bespoke robe.
 
Five new so-called “Princes of the Church” — from El Salvador, Laos, Mali, Spain and Sweden — will be created on Wednesday. Four of them have ordered their ceremonial garb from Mancinelli.
 
Scarlet silk
 
While some nipped over to the Italian capital after their nominations to submit to the tape measure, one future cardinal dispatched his personal secretary to the Eternal City with his measurements.
 
Sometimes Mancinelli's job is made easier when he has to dress longstanding customers for their big day, though he admits, “I still have to check the measurements a bit, to see if they've put on weight around the stomach!”
 
 
One key part of every outfit sits ready in a range of sizes on a shelf: the scarlet “biretta”, a four-peaked hat which each new cardinal will receive from the pope, who places it on their heads as they kneel before him.
 
Cassock, silk belt and mozzetta must be delivered to the Vatican a few days before the big event. The light, soft fabrics used must come from official suppliers and the colour must be exact: there is no picking any old scarlet.
 
Little luxuries which proud servants of God may have purchased to mark the occasion in the past are not as popular since the election in 2013 of a pope who called for “a poor Church for the poor”.
 
“They only buy the bare necessities now,” Mancinelli said.
 
“Under Pope Francis, the cardinals want things a little simpler. Before we only used silk, whereas now we mix silk and wool, fabrics that are a bit cheaper, a bit more modest”.
 
Sock fashion
 
When he became a bishop, the then Jorge Bergoglio sought out a simple metal cross from Mancinelli.
 
And since the Argentine's elevation to pope, the minimalist trend has caught on.
 
The heavy gold crosses set with precious stones on display in one of the shop's glass cases are on their way to becoming museum pieces. Some prelates even plump for modestly-priced wooden crosses.
 
 
Outfits generally have become less extravagant down the ages, particularly since the late 1960s.
 
Out have gone long capes, mantles and flat hats. Gone too are buckled shoes.
 
Long trains, still worn by the more audacious cardinals, are a rarity.
 
Most now plump for modern, plain shoes — and even the once-obligatory matching scarlet socks are optional.
 
As for the black non-ceremonial cassocks, they no longer have to sport 33 buttons, especially if the cardinal is short.
 
Mancinelli's proudest achievement is having once decked out 12 new cardinals at once, and he is not about to hang up his scissors.
 
“I dress them from the North Pole to the South Pole! Why should I put my sewing machine away?” he quips.
 

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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