Collections of 1a Classe Alviero Martini fall 2012, one of Italy’s top manufacturers of leather goods, accessories and women’s clothing are characterized by a “geographic map” motif (called the ‘Geo-Map’), an original design inspired by the era of legendary voyages, explorations and by the Belle Époque.
Columnists and Contributors
How Did “Vincenzo” Become “James?” by John Philip COLLETTA, Ph.D. The multitude of Italians who ventured to the United States in steamships at the turn of the twentieth century carried more than their trunks and bags and bundles. They carried the culture and traditions of their ancestors. When it came time to name their American-born […]
Boetti’s maps show the environment and pollution, the ecosystem hanging in the precarious balance, negative influxes of bulimic progress: all these become pictures that are refined, never trivial, mixing color and force of design, implicit abstractions, and the tactile sense of the materials.
2012 marks the 500th anniversary of the death of Amerigo Vespucci – the Italian navigator whom the Western continents are named after. So, how did one man’s voyage across the world culminate to “America?” by Erika BLOCK Born on March 9, 1454 in Florence, Italy, Amerigo began his love affair with the uncharted early in […]
It doesn’t happen often, especially in Italian provincial towns, that innovative projects are discovered that can restore as well as value the cultural history of a specific place.
The history of mapmaking is marked by natural curiosity and imperial ambition. It’s an uneasy convergence, an innately optimistic search but one directly tied to acquisitive intent. The map represents territory to conquer, treasure to discover, markets to capitalize. Once considered royal property, maps were kept secret, even burned to avoid discovery by enemies.
by Francesco DEL GROSSO
Italy boasts an extremely rich film tradition, which over the years has also become a burden difficult to bear and almost impossible to get rid of. In the last few decades, Italian filmmakers have made every effort to prove that Italian cinema has moved beyond the glories of the past, beyond the “Peplum” epics that dominated the Italian film industry from the first decade of the 20th century to the 1960s, beyond Neorealism and the Italian-style Comedy, beyond the Spaghetti Western and the Dolce Vita. Although the most recent productions “made in Italy” have not been able to live up to this glorious past, there is a variegated number of authors from different backgrounds, styles and ages whose work is particularly noteworthy: they are actually “mavericks” moving within an absent film industry that is neither financially sound nor effective in terms of regulations able to support technical and creative professionals.
by Pierpaolo FESTA
Woody Allen calls it “an osmosis,” something that is not done on purpose. Something that little by little penetrates the subconscious. It can be about art or history. Of course, it is also about landscape – just like walking among the stones of Via Appia, sipping Chianti while enjoying the Tuscany countryside or swimming in the magnificent blue sea of Sicily. This dive into the Italian culture is like an epiphany, a big emotion that nowadays American cinema wants to find more and more.