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Italian Fashion Newsletter - January 1999
The Alta Moda in Rome is Back? (Part II)
Comments and Suggestions
In Part I of this article we discussed briefly the history of Alta Moda (high fashion) in Italy and the formation by Rome's mayor and the president of Rome's chamber of commerce of the "Agenzia Per la Moda" to assist in promoting Alta Moda in Rome. First, however, we need to identify Alta Moda. It used to be that high fashion, aka alta moda, aka couture (French term) were defined as feshionable clothes completely sewn by hand and made to measure for their high-class clientele. Ready-to-wear, aka pret-a-porter (French) or alta moda pronta (Italian) was defined as trendy clothes made in factories to be bought off the rack. It seems to me that there's been a bit of merging going on. I doubt very much that today's Alta Moda is completely hand-sewn, and many outfits seen on the ready-to-wear runways are never produced or, if requested, are made to order. So isn't that high fashion?
That's the first problem for the Agenzia, defining high fashion. The second question is: what the Agenzia per la Moda's goal? I still don't understand. From the "extra" activities they organized for the fashion shows last July I don't see they did anything to promote high fashion in Rome. Sophia Loren was named president of the Agenzia with high fanfare, but she was never seen at any shows in July. The painted Mercedes on Via Veneto were fun, but I don't believe that along with the historic fashion exhibit and the beautiful exhibit of Peter Lindberg's photographs they attracted one foreign journalist to Rome, or produced any articles appearing in the international press.
I've lived in Rome for over thirty years discpvered that Rome is not the cosmopolitan, sophisticated, international city that you might believe. Rome is a provincial town. You can't compare it to London, Paris, New York, or even Berlin. Rome is also burdened with the unfortunate system of the "raccomandazione" or getting work through contacts, especially political, and not merit. With the obvious results. Too often things are done to make money go to the right people but not necessarily to accomplish the stated project.
There already exists the "Camera Italiana della Moda" or Italian equivalent of the French organization for fashion, whose president is Santo Versace, and they already have enough bickering and arguing as it is. If the aim of the Agenzia per la Moda is to promote a positive image of high fashion (and/or fashion) in Rome throughout the world, then I believe there are better ways to accomplish this. The name of the game is selling clothes and accessories and making money, no? Accepting inexperienced unknowns into the calendar (done by the Camera) cheapens the image. Because those houses, especially, are tempted to do outrageous things in order to appear in the newspapers. This is not high fashion and does nothing for the image of an industry filled with talented, creative, hard-working, able designers, seamstresses, fitters, tailors, dressmakers, embroiderers, and textile designers and manufacturers.
On the world scene and with consumers young and old Italy is right now enjoying a magic moment. People love her cars, films, fashion, wine, and food. They not only love them, they buy. In the end, isn't that what this is all about? The Agenzia just announced (January 24) that in February they would organize a course in marketing. Perhaps they should be the first ones to attend this course. I, for one, would gladly sign up if possible. I'm not a graduate of Harvard Business School, but I do have a few suggestions for the Agenzia della Moda which I humbly offer:
1. Put together an efficient World Wide Web to promote the fashion shows and the fashion industry in Rome. It's 1999, and it's really stupid not to take advantage of the newest and cheapest way of communicating all over the world. And selling. Our web is a modest endeavor, but since 1995 we have received hundreds of e-mails from companies all over the world who want to buy Italian fashion. With the funds they have available the Agenzia could put together a web and furnish e-mail addresses to all of the fashion companies in the area to facilitate communication. This would cost a fraction of the expense of chartering a 747 and taking Rome fashion houses on a world tour, as was mentioned last year. And it would be a permanent reference point. A web is not a brochure, and to be effective has its own demands, but Internet should not be ignored.
Some of these suggestions might not be as glamorous or self-promoting as organizing pseudo-events and being photographed for the local newspapers but if the Mayor and the bosses of the Agenzia are serious about doing something for fashion in Italy and Rome they will set about paying attention and enacting some of them. Otherwise it's just a lot of vaporware.
2. Involve EVERYBODY in the fashion business in Rome, not only high fashion designers but names like Fendi and Biagiotti as well as manufacturers like Swish and L'Altra Moda. Ask for input and ideas from the schools on fashion. journalists, editors, photographers, all the way down to the lowliest workers. The people running the Agenzia, who are not experts in fashion, should have the humility to ask for advice and LISTEN to it. They might be surprised from whence they get some of the best ideas. I bet that somebody like Irene Galitzine, with her wealth of experience, could make some valuable suggestions.
3. Trim the high fashion calendar. Transferring journalists and buyers, paying their hotels and food out of town is expensive. A well-planned two-day calendar, maximum three, allowing for two evening party-events with only the most prestigious designers showing is more than enough and is much more likely to guarantee attendance from out-of-towners. The emerging designers can be accommodated in a group show and/or static exhibits, as well as the fashion schools. Trying to drag the schedule out to four or even seven days is counter-productive.
4. Emphasize the incredible workmanship that goes into fashion. It's not just the designer. It begins with the textile designers and manufacturers who are constantly updating their techniques and improving their designs. Some ways of making high fashion designs are disappearing (you used to be able to step into an haute couture dress naked, and the dress itself would form your body!). The workers who know how to do these things should be encouraged to pass on this knowledge. Capucci once did a collection based on pleats. He said he had found some pleating machines used years ago and adapted them. The effects were incredible! Lip service is not enough. The Agenzia should spend some of its money to ensure the continuation of these crafts. Embroiders, flower-makers, those who make hats, shoes, belts, and other accessories, the special skills of all these people should and must not be lost.
5. Even if you can't get the foreign press and buyers to come to Rome for the twice-yearly fashion shows doesn't mean that you can't furnish them with material to publish. Where are the most likely markets for Ialian fashion? Choose the countries (surely to include Japan, Korea, Germany, Great Britain and the US along with other English-speaking countries, the Arab countries, and France) and put togther press kits with texts and photo captions in those languages. Tailor them to the individual magazines and newspapers in each country (color pix for magazines and newspapers that use them, black and white for the rest) and ship them out. Subscribe to clipping services in those countries so you can monitor the results. If possible try to establish by letter, phone, and fax relationships with the editors of these publications. Don't forget the TV stations abroad that have regular fashion features such as Elsa Klensh on CNN, MTV, Japanese TV, and the Canadian Fashion News. They have enormous viewership. THIS would be money well spent, and the Agenzia might find that not only will they garner a huge amount of FREE editorial space in publications worldwide, but some of these editors may even decide to take a trip to Rome for the next shows.
6. Support a fashion museum and research center. It's been talked about for years. Milan? Florence? Rome? Dino Trappetti, heir to the fabulous collection of Umberto Tirelli which spans centuries and is housed in warehouses all over Rome, is involved in negotiations. This alone could form the basis for an impressive museum. The Museo Boncompagni for Decorative Arts often holds exhibits dedicated to fashion but is not a permanent venue. The government should help create not only a museum dedicated to fashion but also a research center where people can consult and study. Italy has a rich history of costume and fashion design and this is essential to preserve the tradition, the techniques mentioned above, the artifacts, and printed matter. Italy is full of "capanilismo" (rivalry between cities) so for once the powers-that-be should try to put aside their differences (even though that's like asking the US Senate to be bipartisan in judging Bill Clinton) and choose the most suitable place and get on with the program.
When Italians do it right they REALLY do it right and the show/event that Rocco Barocco put on in the art-filled salon-quadrangle of the Palazzo Doria Pamphili in downtown Rome was nothing short of magnificent. The four walls of the art gallery were lined with one row of chairs for the guests which included rock star Jon Bon Jovi and Gina Lollobrigida. But the guests definitely took a back seat to the show. On walking into the art gallery of the palazzo with 30-foot walls lined to the ceiling with paintings, living statues adorned these walls at intervals. The first one I saw was a white-powdered Pan holding a lyre, draped over a console table. I honestly thought it was a statue, it was so still. When the guests were all seated the show began, the statues came to life, and they turned out to be members of the troupe of Lindsey Kemp, one of the greatest mimes in the world. To the strains of baroque music Kemp, dressed in an 18th-century costume, all in white, led out the first model from a door in one corner. All the models wore delicate, beautifully detailed evening dresses and they made their stately progression three times around the quadrangle, interacting with the troupe, who interpreted such characters as Pierrot and Cupid.
This is what I call a beautifully-executed, fascinating, relevant fashion event. You certainly could not call some of the nearly-nude mimes vulgar, the combination of the models, mimes, music, and artistic setting was exciting, and it made for a treat for all those present, as well as bravos for Barocco. Lindsey Kemp told me afterward that the whole show was created in four days! Unbelievable! Too bad CNN's Elsa Klensh wasn't there. She would have loved it.
Logan Bentley Lessona
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