Tag: applied arts; dialogues; fahion; moda


Fashion always referred to Art as source of inspiration: hommages to artists and painters are a long leit-motiv during history of fashion…and, in some fortunate cases, this fascination for arts gave  us such memorable creative marriages like the one of Elsa “Schiap” Schiaparelli and Salvador Dalì.

Elsa "Schiap" Schiaparelli and Salvador Dalì
Elsa “Schiap” Schiaparelli and Salvador Dalì

Their collaboration, starting from the early 1937, reached its maximum with the fall-winter collection 1938-1939 with some greatest pieces as The Lobster Dress, The Tears Dress, The Skeleton Dress and The Shoe Hat.

Lobster Dress, 1938 and Tears Dress
Lobster Dress      and       Tears Dress
Skeleton Dress, 1939
Skeleton Dress, 1939
Shoe hat, courtesy of Palais Galliera
Shoe hat, courtesy of Palais Galliera

That unconventional eye on fashion was really a shock, not only because Schiap  was convinced that “in difficult times, fashions is always outrageous”, but also because that surrealist twist launched the idea of the concept of “wereable art”.   Schiaparelli’s collaborations included Jean Cocteau, Leonor Fini and Alberto Giacometti and no wonder that Coco, at that time, called Schiap as “the artist that makes clothes”.    By the way, both Schiap and Coco were the only two who ruled Paris fashion stage at that time, but that outrageous eye gave such a twist …and a breath of surrealism broke the air.

Nowadays, when the House of Schiaparelli is finally on stage providing us memorable haute couture runways, it’s nice to see how that fil-rouge, created and wanted by the founder, still emerges from the fabrics and creations just to take place on mesmerizing sequined shoulders or in elegant details that recall the memory of things.

Salvador Dal', Eye of Tie, brooch- 1959, courtesy of AD and House of Schiaparelli, haute couture coll. 2015
Salvador Dal’, Eye of Time, brooch, 1949 [courtesy of AD] and House of Schiaparelli, Haute Couture coll. 2015.

 This métissage, of course, is a clear tribute to Dalì: directly derived from his “Eye of time” brooch, created in 1949: the House of Schiaparelli wants to give a direct homage to the great surrealist painter and artist who created a fabulous jewels collection (now shown at Figueres Museum) and collaborated with Elsa: a sort of memory thread never cut.

To me, of course,  this subterranean river made of details wisely sprinkled all over creations is a feast for my eyes and a delight for my memory’s drawers: how pleasing is when you can easily detect all those interconnected inputs you have in your mind that are waiting for you, as a long path made of tiny little pebbles?

But, far from this enchantment, one thing is noticeable: more often (as my wise friend P. says) fashion is becoming reinterpretation, without any room for creativity itself. So, I ask myself: when fashion imitates Art, or borrows some specific peculiarities from it…is still “creation” or a lack of it? Moreover: do you think that nowadays, such imaginative collaborations as the one of Schiap and Dalì are still possibile….? is there yet an absolute outrageous eye?

A dress [a jewel too!] has no life of its own unless it is worn, and soon as it happens another personality takes over from you and animates it, or tries to, glorifies or destroys it, or makes it into a song of beauty Elsa Schiap


  • Elsa Schiaparelli, Shocking Life: The Autobiography of Elsa Schiaparelli, V&A ed.;
  • Emma Baxter-Wright, The Little book of Schiaparelli, Carlton ed. 2012;
  • Judith Watt, Vogue on: Elsa Schiaparelli, Quadrille ed. 2012;
  • Andrew Bolton- Harold Koda, Schiaparelli and Prada. Impossible conversations; Exhbition catalogue, Met Museum, 2012;
  • Marisa Schiaparelli Berenson, Schiaparelli’s Album, Thames & Hudson, 2014.
  • Meryle Secrest, Elsa Schiaparelli: A biography, Fig Tree ed. 2014;


A presto,


THE BLUE WAVE | Métissages for a blue monday

Some time ago I started matching contemporary jewellery with old and new fashion creations in order to create an innovative dialogue between two meanings of expression always considered as “young sisters” of the great arts as painting and sculpture. The fact is that fashion, as inevitably is, always looked to painting as the main source of inspiration: many were, during past times, the coutuoriers who took inspiration directly from arts: Ysl with his magnificent Mondriaan collection, or, nowadays, Maison Valentino with its richly embroidered gown with a scene directly taken from Lucas Cranach the Elder.


Thus the evidence of dialogue between this and that: not only to demonstrate that ideas fly, but  also to show how possible is to gain the same artistic intention with two different media.

So…it’s monday and  you know, mondayblues is terrific!!! so, again, let’s play with arts!


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MAISON VALENTINO, Haute Couture AW 2013/14 –   CAMILLA TEGLIO, Necklace: a voyage to Delft  until the great East….and back.


1399670203113DANIELA GREGIS, Blue painted dress  and  PATRICIA CORREIA DOMINGUES, Brooch, 2013:

1408826660704BIN DIXON-WARD, Blue 3D printed ring  and    MADAME PERIPETIE, DreamSequence.

 A presto,