Rondò Armaniano is an imaginary dance composed of lines, lights and colors that gently vibrate, as if refracted through a prism.
The Giorgio Armani Privè spring summer 2023 collection is a luminescent fantasy in which the clothes dance and shine.
Just like the Rococo interiors of Venetian palazzos, it is the splendour of light, multiplied by extraordinary embroidery, that creates the most precious sensations.
Rondò Armaniano is a symphony of small, jewelled jackets, long skirts, fluid trousers and sheath dresses that create seductive silhouettes.
Gorgères and diamond motifs inspired by a painting of Harlequin take us straight to the Venice Carnival, but not only.
Everything is light, impalpable and glittering. The diamonds motif expands onto the catwalk, in a painting that becomes reality.
A reality that remains a dream for many, yet I consider it Art, and as such I simply admire it without feeling the desire to own it.
I find that every time Giorgio Armani offers us his fashion shows, we can all consider ourselves richer in beauty.
And as if by magic, again King Giorgio has managed to pay homage to something in my heart: in this case Venice.
Luciana in her tag wrote me “Venice & Armani: a dream” perfectly describing my thoughts.
And, just to frame … the fashion show took place in Paris!
Its origins date back to 1966, when Tiffany first began selling key chains with the now famous phrase “Please Return to Tiffany & Co. New York.”
The key chains were assigned a unique registration number, which ensured that Tiffany & Co could trace the keys back to the owner if they were lost.
That’s why Return to Tiffany: because the prestigious Fifth Avenue store would be able to reunite the data through a precise and confidential serial number.
In the fifty years that have passed, the Return to Tiffany collection has made its mark as a symbol of the tradition of craftsmanship, a fundamental pillar of Tiffany.
A Tiffany advertisement showed the perfect gift for Valentine’s Day: a heart-shaped Return to Tiffany tag in 14-karat yellow gold, priced at $11 …
Over time, there have been several evolutions: in 1980, Tiffany debuted the first piece of jewelry incorporating the Return to Tiffany tag, a heart-shaped yellow gold pendant on a necklace.
The collection expanded to an assortment of rings, bracelets and earrings, each with its own personality, all engraved with the emblem reminiscent of Tiffany‘s unparalleled style.
Have you ever happened to lose something?
I’d like you to tell me that you found it or that it was returned to you by some good soul.
According to Article 928 of the Civil Code the delivery of the object found must be made known by publication for two successive Sundays and must remain posted for three days each time.
These seem like archaic concepts now that all kinds of information is disseminated online.
In Japan have a special name for lost or forgotten items: WASUREMONO 忘れ物.
Don’t you find it cute?
For them then, return is a very important issue; they are extremely precise and accurate.
Keys therefore come long after an object that did not exist in 1966: the cell phone, yet Tiffany’s continues to represent somewhat “the heart of New York.” Or not?
New Emporio Armani fall winter 2022-2023 campaign: have I already said I like King Giorgio? Claro que si!
Have I already posted an Emporio Armani fashion show? Claro que si!
And it is also clear that I have a particular fondness for Armani‘s gray tones and its unmistakable timeless lines, just like the cut of the pants that open this video
These images immediately made me think of one of the sequences I have loved since I was a child
How do you see yourself?
Do you have a four-legged friend who looks like you?
How did you meet each other?
Do you also walk symbiotically?
Photographer Gerrad Gethings, who specializes in such portraits, has published a series of shots centered on this very concept.
A BBC article describes this phenomenon called canine mini-me based on studies by Professor Michael Roy.
Forty-five dogs and their owners were photographed separately and judges were shown one owner, that owner’s dog, and another dog, with the task of choosing the true match. The results were consistent with a selection report: observers were only able to match purebred dogs to their owners, and there was no relationship between the ability to match a person with his or her pet and the length of time they had lived together. The ability to match people and pets did not appear to be based on any simple matching of traits (e.g., size or hairiness). The results suggest that when people choose a pet, they look for one that, on some level, looks like them, and when they get a purebred, they get what they want.
What are your thoughts on this?
Among the main characters in the Emporio Armani video is a German dachshund, like our Rocky: my parents adopted him because the “human” he was living with wanted to get rid of him.
Rocky was afraid to do what was his “job” that is, to get into dens, and for that reason he was beaten.
Unfortunately, he was forever left with an extreme distrust of people, but with us he was very sweet.
Here, maybe I could say that shades of gray are only beautiful when it comes to clothing, what do you say?
And in particular Matsuzawa Yuko is the artisan who for Tsuchiya Kaban conceived and created the snowman bag!
The concept of 土屋 鞄 製造 所 【TSUCHIYA KABAN】:
In the mind of every conscientious leather bag craftsman is an imaginary drawer full of imaginative bag ideas that can be used to carry different things.
By honing their skills and drawing on the knowledge they learn day by day, our artisans can bring design ideas into their minds.
It must be said that they managed to make it happen in an excellent way!
The snowman holder was born with this thought:
Warmed by the steam rising from a bowl of hot soup on a cold morning, a quick glance out the window catches a drifting snowflake, white as cotton, the welcoming sight of the first snow is always a pleasant surprise.
If only I could share with someone dear, the moment the first snow falls in the air …
The Gucci family has repeatedly dissociated itself from the portrait that the film portrays, and I will not go into the merits, but now I can finally say that Lady Gaga in the House of Gucci is truly credible, for the vision I had of it.
So, taking up the talk on Patrizia Reggiani, apparently Lady Germanotta’s decision not to meet her did not affect the interpretation, despite Reggiani being annoyed.
Obviously I observed clothes, accessories, and outfits in general, with particular interest both for Gucci pieces and for 80s looks, and I have to say that I enjoyed the work of costume designer Yanti Yates.
Very scrupulous work, starting from months of study in the archives of the Gucci maison.
In an interview with the New York Times, available in full on Instagram, Yanti Yates stated that Lady Gaga was hugely involved, not least because she is a complete clotheshorse and looks marvelous in everything. She was hugely focused on how her character might appear at a particular moment, and had very strong views on aspects like hair and makeup.
But also difficult work, again according to the statements made during the interview: I would create initial selections, and then she would select from there.
Gaga selected.
It also seems that there have been days when for her it was “not today.”
Moreover, the same Gucci website reports as an iconic statement from Yanti Yates: “Lady Gaga told me that in this movie she wanted to dress like her Italian mom. To create her looks, I was able to draw on both her personal and historical Gucci archives.”
At the same time, however, I have this doubt that is spinning in my head, so help me understand if my perception is deceiving me since, actually, in the early 70s despite I wasn’t really in the world from longer (also now I am not, but this is a other story).
Unfortunately I could not find the image of the scene in which Maurizio Gucci introduces Patrizia to his father Rodolfo, but more or less the same goes for the floral dress in this picture.
Obviously I’m nobody to question the reconstruction, which in all other situations I have admired, and I stress it well, but the idea of this dress leaves me perplexed. I’m wrong, right?
In addition to the clothes, House of Gucci offers the vision of a fantastic series of precious “vintage” cars.
In particular, I really loved the way director Ridley Scott frames the arrivals at Rodolfo Gucci’s home: focused on the entrance. From the outside to the outside.
This shot occurs more than once in the movie, with different cars arriving in front of that entrance.
For me it was a sort of “story within history,” almost a symbol to mark the time.
In the picture below, with the same principle, in contrast we are witnessing a departure.
Which is also a beginning: the beginning of a strategy for Maurizio being back in the company.
For the rest, I refer you to the review by Matavitatau, me, a bit like Cruella, I really enjoyed the non-original soundtrack.
As for the floral dresses, I felt a sort of temporal disorientation that in some cases conquered me, in others it left me a kind of question mark.
For example, I liked the choice for George Michael’s Faith as soundtrack of the wedding scene: despite the anachronistic incongruity, it gave me a joyfulness that counterbalanced the void created by the absence of Maurizio’s family.
On the contrary, I was perplexed listening to Ritornerai by Bruno Lauzi as the background to the scene in which Aldo Gucci goes with Maurizio and Patrizia to the estate where their historic breeding is located. The song is wonderful, ça va sans dire, and the meaning is centered on returning to the origins, but for my personal perception it is as if something screeches.
Apart from that, I could list one song more beautiful than the other, and I would like to propose them all: Here comes the rain again by Eurythmics, Heart of glass by Blondie, Ashes to ashes by the White Duke David Bowie, Blue Monday by New Order, Una notte speciale by Alice, Sono bugiarda by Caterina Caselli, but also Largo al factotum from Il Barbiere di Siviglia by Rossini, Madame Butterfly and much more.
As you choose which one you prefer to listen to first, here are some coffees.
If you see her: the ex-mother-in-law wants the Polo back this is the writing above the photo, published on the Dutch blog GeenStijl, of the woman we have come to know as Sara LemLem.
This story dramatic at first is becoming bitter for the people involved, to whom all my respect goes.
I know, this is also extreme who cares news, but since the episode of Chi l’ha visto hasn’t aired, we can’t run out of updates, right?
And since it all started from Vigevano … you don’t care, do you ?! Come on, now I’m telling
For those who are not chilavister … briefly: in December the appeal for a woman who disappeared from Vigevano is released.
I know you will say “with the fog you have, where is the news?” 🙂
Joking aside, obviously the companion is very worried, even if, perhaps due to apprehension, his words at first seem strange.
In light of the incessant news about feminicide, also considered that Mr. Corrado said that Sara left after a quarrel, he was asked questions about the nature and above all about the modalities of their quarrel, fearing the worst.
In the following days the searches are extended in every possible way, and the firefighters plumb the Naviglio Sforzesco and other city waterways, without any positive results.
But the diffusion of the photo, published on the website of Chi l’ha visto, bounces almost everywhere, and leads to a Dutch track that reveals a twist unexpected about Sara’s past.
Patrick, from Amstelveen, provides documents, photographs and also the complaint relating to the car of his mother, the ex-mother-in-law who wants the Polo back, which seem to leave no doubts.
The contact takes place through the editorial staff of the Informatore Vigevanese to which then Mr. Corrado tells more details about how he met Sara on a Belgian dating site, and about their trip to Italy.
Sara never wanted him to go to her flat claiming that it was in common with an Egyptian cousin, with whom she also collaborated on a working level. Sara arrived at the meeting with all her luggage in a car that she left in a parking lot in Antwerp, saying that a friend of hers would have taken steps to recover it. Sara told him she had lost all documents.
And I’m not even writing that, while doing research, I found Sara as an author, or more precisely as a Milanese videomaker of Eritrean and Ethiopian origins, but that the link leads to an even different identity: Sarita, because at this point it is not even important.
Thinking of people who disappear, where it does not turn out to be a terrible epilogue, one wonders HOW one can even travel without a trace …
Here, in this case the ex mother-in-law rightly wants the Polo back.
Hi I'm Claudia and this is KCDC.
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