Miranda Priestely didn’t tell us in the famous film “The devil wears Prada”, Bible of all the fashion-addict women, that “fashion” was a business only for developing countries.
Instead, in Italy Deleyva Editori has published the book “Reconstructing Italian Fashion: America and the Development of the Italian Fashion Industry” of Nicola White of the Central Saint Martins of London, for making us understanding what hundreds of Italian sound advertisements on multilateral exchanges (fundamental for goods’ exchange) have fleetingly impressed our eyes.
We want to make you to know that Nicola White was teacher and leader of the Central Saint Martins of the London department, she also wrote other works in addition to the already quoted Reconstructing Italian Fashion. An example is “America and the Development of the Italian Fashion Industry” of The Fashion Business: Theory, Practice, Image (Berg Publishers, 2000) written in collaboration with Ian Griffiths, creative Consultant for Max Mara and teacher at the Fashion Design Research Center of Kensington University of London and also writer of the biography “Giorgio Armani” (Carlton Books, 2000).
Fashion is a business for poor countries. A job appendix and GDP left to female and childlike hands, ruled by international agreements that sometimes smell of “prohibition” and in other cases of globalization. A “worn” version of the agricultural agreements, or well, an excursiveness about the products that on one side you can put in your stomach – the food – on the other side that you can put on your belly – the dress. Who knows if at the Expo2015 these stories will be told.
Now, my dear aesthetes, we believe Italy has returned to be a developing country. Lets read the book of Nicola White edited by Deleyva Editore, as a Marshall Plan of the seamstresses and craftsmen, tailors for men or women, who contended the materials and every centimetres of the Italian population; a Marshall Plan based on needle and thread weblog USA. As Nicola White wrote, the textile sector was the only one to remain unscathed in Italy after the Second World War, becoming the privileged beneficiary of the American Marshall investment plan. The use of new mass-productions methodologies and technologies applied to the industry, and the opening of a big consumption market, became the key role of the USA in the development of Italian fashion and textile sector.
According to the author Nicola White. The Italian style of fashion realised its identity through the expression of the market demand of the American middle class. The Italian collections, from Puccialle Sorelle Fontana, Ferragamo and Max Mara allowed the explosion of the Italian fashion phenomenon in America and the representation of the ideal of Italianism in all the Americans’ idea, where
“Italy became the privileged destination of a sentimental travel towards art, culture and tourist pleasant places.”
On February 12, 1951 the big fashion and textile exposition, organized by Giovanni Battista Giorgini in Florence, marked the born of Italian fashion making the Italian style free from the subjection of Paris’ fashion.
We would like to share with you some words of Nicola White, we are already sharing them, long-winded and unheard mourners:
“At the beginning of a new millennium, in a period when nations are fighting for saving and developing their own cultural identity, it is important the Italian fashion root (a sector that now is a representative icon of Italian national identity) are properly recognized and understood.”
A new Marshall Plan, exactly. Not a Chinese invasion.