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Ferrero-Regis, Tiziana (2019) Dolce and Gabbana: Sicily, tailoring, and heritage on show (Bloomsbury Fashion Video Archive). [Other]

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Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.5040/9781350996335.0002 DOLCE & GABBANA: Sicily, tailoring and heritage on show* By: Tiziana Ferrero-Regis

Keywords

Dolce & Gabbana Fashion show Made in Italy 1990s fashion

Footage Referenced

 Dolce & Gabbana, SS 1991  Dolce & Gabbana, SS 1998  Dolce $ Gabbana, SS 2003 ` Origins: From little things big things grow

Domenico Dolce and met in Milan in 1980 while collaborating in a design studio; they entered the fashion world as outsiders, as neither had any formal training in fashion. was born in Sicily in 1958 as the son of a tailor and learnt as a child from his father, whom, like many skilled Sicilian men in the 1950s, ran tailoring workshops. Stefano Gabbana, on the other hand, studied graphic design but was attracted to contemporary fashion, as well as to the American military surplus that at the time flooded Milan antique markets and second-hand shops. In particular, Stefano Gabbana had a love for street style, which had exploded in Milan in the 1970s when the first boutique, Carnaby street-style Fiorucci, opened in the Milan city centre and was a catalyst for street mood and trends. Their collaboration in 1980 resulted in the creation of their own label, Dolce & Gabbana, the aesthetic of which reflected both designers’ backgrounds by eclectically mixing the rigour of tailoring with street influences. In an interview with fashion critic and columnist Sarah Mower, released on the occasion of the twentieth anniversary of the label’s launch, Dolce and Gabbana recalled being young designers in 1985, with virtually no money and working day and night in their small Milan apartment to make their first collection. Beppe Modenese, the founder of Modit (the association regulating fashion shows) and President of the National Chamber for Italian Fashion, invited Dolce and Gabbana to show at , under the New Talent category. The label grew very rapidly and, by the beginning of the 1990s, was well established with a diversification of lines that included menswear and the diffusion line D&G. According to The Business of Fashion Dolce & Gabbana achieved € 1,3 billion in revenue and sales in March 2017; it is one of both the few remaining independent labels and one of the 10 largest companies in Italy.

Dolce & Gabbana was born and thrived within the context of the rise of the Made in Italy. The Made in Italy effectively branded the convergence of fashion designers in Milan between 1970 and

* In this article, Dolce and Gabbana refers to the two designers, while Dolce & Gabbana refers to the brand.

1 1975. Milan’s cultural vibrancy along with its geographical position at the centre of regional clusters of manufacturers of silk, wool, leather, fur, embroidery, zips and buttons facilitated the move of designers-entrepreneurs from Florence. The Italian ready-to-wear, a response to Paris’ , was born out of quality fabrics, sharp cuts, commercial and creative ingenuity. These elements infused Italian ready-to-wear with tailoring quality. Dolce & Gabbana adopted this design practice, representing the second generation of the Made in Italy. Their design philosophy was to translate Italian and Sicilian traditions and culture in their collections by combining tailoring with billowing skirts that highlighted their passion for Sicilian Baroque gentility, with ultra-feminine and form-fitting garments. Classic pinstripe tailored jackets in wool co-existed with leopard print, sequins, coloured dresses, bras, corsets, and religious iconic references such as crosses, and Baroque-style black lace. The New Yorker captured the apparent paradox of Sicilian culture within Dolce & Gabbana’s output when it noted that “Leopard print allowed the designers to combine the naughtiness of the boudoir with the baroque formality of the Sicilian aristocracy”. While Domenico Dolce has always been directly involved in the design and making process of each collection, the SS1998 collection signaled a different design practice. In a new approach, the designers had started making clothes on the mannequin, thus engaging with traditional couture practice, as opposed to ready-to-wear. However, their actual couture line Alta Moda was only launched in 2011 with a show in 2012 in Taormina in Sicily.

Stefano and Domenico’s style has been consistent throughout the life of their label, and their eclecticism has enabled the designers to be modern and current, adapting to different generations’ aesthetics. Forays into the Renaissance and Baroque were introduced in their Hippy SS 1993 collection, which referenced the grunge trend of the 1990s. Baroque imagery returns consistently in the label’s collections, of which AW 2013 represent the epitome with dresses, capes, skirts and shorts in black and gold brocade. Dolce and Gabbana are also known for their consistent use of cinematic references, in particular, Italian Neorealism and Italian cinema of the 1960s. Author Barbara Vinken describes Dolce & Gabbana’s style as producing “stark disharmonies”, referring to the mix of references and citations that are firmly anchored within the label’s aesthetics to Italian history and contemporary culture.

The Evolution of Dolce & Gabbana’s Fashion Show

Dolce and Gabbana’s first collection in 1985 was inspired by the Japanese aesthetics of volume and form as seen in Paris in 1982 in the Japanese designers’ collective show, especially Rei Kawakubo and Yohji Yamamoto. While being well received by the press, it did not sit well with the contemporary aesthetics of the then two dominant Italian designers, that of Giorgio ’s power suit, and the sexy, fitted clothes in bright colours and sequins, bordering on kitsch, typically embodied by ’s swimsuit models. Despite good press coverage, their manufacturer withdrew from producing the collection. Talking to Sarah Mower in 2005, Domenico Dolce revealed that his family came to the rescue by offering to produce their Spring/Summer 1986 collection. Due to a scarcity of

2 funds, the show featured real women as models, who belonged to the designers’ network, hence the title Real Women. The Spring/Summer 1986 collection did not reference many of the features, such as Sicilian and Italian cultural icons, that are present throughout Dolce and Gabbana’s later shows. This collection featured minimalist geometric dresses, tops and short coats in plain colours, including mustard, midnight blue, pink, violet, and black. The exception being perfectly tailored trousers in beige hues. Dolce and Gabbana’s signature look started to unfold in the SS 1987 collection, which was presented in their small fifth floor showroom, and the AW1987/88. Black, as an icon of Sicilian decorum emerged at this time, and was accompanied by transparent tops and fitted mid-length dresses. The Sicilian allusion was also reinforced through their advertising campaigns, which were shot in Sicily and featured Sicilian natural and architectural landscape with real residents in the background.

Models By 1991, Dolce & Gabbana had found their brand image through their models’ aesthetics who represented the strong, curvy, sexy, dominant and passionate Mediterranean ideal of beauty and eroticism. This image was typically embodied by in many Italian films of the 1950s and 1960s. In the 1990s, the were the catalysts of Dolce & Gabbana fashion shows: with their commanding physical appearance they provided for the spectacle. Collections tended to be presented on a minimalist white or black runway, with minimal interior décor, which comprised of a backstage where the models entered the long and narrow stage, photographers at the front end, and rows of chairs for the press and buyers at each side of the runway. The supermodels represented a turning point in modelling in that their high wages afforded them a point of difference, becoming celebrities in their own right. Stephen Gundle, author of Glamour: A History, argues that the excess of beauty and the cult of the body of the supermodels represented the new sexual and business power of the period, which well served the Dolce & Gabbana brand, with its focus on strong and sexy women. , , (daughter of Ingrid Bergman and Neorealist director Roberto Rossellini), and walked for the label throughout the 1990s. In particular, Linda Evangelista, Isabella Rossellini and ’s strong facial features could be transformed with make-up to look like Sophia Loren or 1950s starlets. They appeared in many fashion shows and advertising campaigns whose aesthetics recalled the Dolce Vita and Italian Neorealist cinema of the post-war years.

Historical and Contemporary Aesthetics The collections presented in 1990, 1991, and 1992 cemented Dolce & Gabbana’s brand signature, that is the constant presence of the Italian South’s cultural icons, and, as Leitch and Evan argue, found “a foothold in Milan’s fiercely competitive fashion system”. This was the period in which the label established its dramatic and theatrical features by presenting a modern version of feminine menswear through tailoring, pinstripe woollen suits as a counterpoint to the voluptuous Mediterranean

3 woman, while remaining within the aesthetics of Sicilian heritage. Their 1991 SS collection, Love, was presented on a minimalist white runway with square columns running through the middle, around which the pivoted and returned to the backstage. The collection’s suggestions and evocations combined the past with the contemporary, and thus aligned with the Dolce & Gabbana design aesthetic. The collection’s colours were black, white, sorbet pink, claret, yellow, and cream. The disharmonic historic and contemporary combination of garments included elasticated corsetry with puffy and billowy skirts in voile, with metallic and plastic chains on bodices and cropped tops, and jackets in chainmail. In this show, Dolce & Gabbana also included references to the contemporary art form of Pop Art, with black and white chequered tops, while Baroque and Renaissance black and white prints intruded on some tops and tights. The Spring/Summer 1991 collection was based on underwear worn as outerwear, wich will become normalised in their future collections. By 1991, underwear had already crossed the boundary from being intimate and private, to public and ostentatious via Vivienne Westwood and Jean-Paul Gaultier. However, Barbara Vinken writes that Dolce & Gabbana’s underwear retained the intimate- private aspect; its shock was not in its eroticism, but in not “being presentable in public”. The intimate- private effect was conveyed through models wearing thick black stockings, a symbol of modesty and prudish decorum, with corsets, crop tops ending in bandages around the model’s waist, black jersey bodysuits with thin straps, miniskirts and off the shoulder minidresses as a counterpoint. The effect recalled many images of Italian films in which the woman (notably in Bellissima, by Luchino Visconti, 1951, Sophia Loren in black corsetry in A special day, 1977, by Ettore Scola; and Monica Vitti in Kill me quick, I am cold!, 1967, by Francesco Maselli) undresses in the private space of her bedroom. In these films, the camera’s gaze is oblique and intrusive, destabilising the viewer. Dolce & Gabbana’s bras, corsets and brassieres as outerwear achieved this effect of intrusion; the models’ minimal make-up, thick eyebrows, dark hair parted in the middle and collected in a little bun at the back of the head (a look that signifies a mix of Sicilian modesty and old aristocracy) added to the stereotype of the private Sicilian woman. The gathering of the stretchy fabric enhanced the female form, defining it as sensual and sultry, providing yet another disharmony.

Presentation In the 1980s and 1990s, Italian designers showed at the exhibition space of Milano Fiera. Dolce and Gabbana followed suit, but from their SS 1998 couture show, Stromboli, they started showing in the Dolce & Gabbana palazzo at the heart of Milan. With its draped curtains and spiral staircase, the palazzo setting emulated the classic couture salons that were popular until the end of the 1950s. The innovation of the show was its live screening to additional guests who were sitting under a tent mounted in the garden. From this collection to 2006, Dolce and Gabbana showed under a tent in this garden, with a constructed runway evoking atmospheric sets. Domenico Dolce explained to Sarah Mower that the reason was to have a show that was closer to the audience, enabling viewers to “see the work in the clothes properly. It had become very complex. The construction of the dresses was very special”. From 2006, the label showed at the historical cinema Metropol, which Dolce & Gabbana had bought for this purpose. This venue is conveniently located near the

4 , the fashion shopping precinct in the heart of Milan. The Metropol, now called Dolce & Gabbana Metropol, is today a space that also hosts other cultural events.

The SS 1998 show attempted to be more intimate; as the show was recorded the camera followed models, who often did not seem at ease stepping down the stairs in high heels, walking through rooms of the palace, with the fashion press and buyers sitting along the catwalk that wound through the interconnected rooms. Indoor floor coverings featured a mix of original tiles, parquetry and polished marble, while walls were covered with leopard and zebra printed fabric, bookcases, and art. The result of the décor was highly eclectic, while the collection itself was exceptionally minimalist with its monochrome hues of grey, and black, and only a few garments in powder tones of blue and claret. Fitted pencil midi skirts, sheer silk voile tops, linear trousers with soft tops, tailored long jackets with nipped in waist, and sheer fitted dresses in silk voile made the collection appear very homogeneous. Models wore knee high socks with strappy high heeled sandals or flat slides. Unlike other collections (for example, the Spring/Summer 1993 ready-to-wear collection, which combined glamourous 1970s hippy style inspired by Carnaby street aesthetics with Sicilian cues and grunge)) SS 1998 represented the designers’ turn to a temporary quieter and more elegant woman while maintaining the signature sexiness that characterised the label.

With the SS 2000 collection, Dolce & Gabbana introduced a less minimalist catwalk design. While this was far from the multi-million dollar spectacles initiated in 2005 by Lagerfeld for at the Grand Palais in Paris, the show reaffirmed the label’s connection to Italian lifestyle. In this show, a fruit and vegetable shop, complete with muscular shopkeepers in white singlets, was recreated close to the entrance of the models on the catwalk. Thematic décor continued in the Autumn/Winter 2002 collection called Rustic Autumn where a large tree trunk was placed in the middle of the runway under a white canopy tent, and in Spring/Summer 2002, Latina, large classical urns with multicoloured flowers were placed at the centre of the runway as the catalyst of the spectacle. For Spring/Summer 2002 in particular the runway was a round stage with the spectators (with Victoria Beckam in the front row, wearing a Dolce & Gabbana pants suit, sheer gloves and a coppola cap, or flat hat) sitting around it. In the background, printed and real green foliage, and climbing roses adorning the entrance of the models provided a backdrop to the show. The show began with a number of dark grey and charcoal dresses, suits, skirts and tops, following the classic Sicilian heritage that characterizes the label. Slowly, more coloured garments were introduced: tops in silk georgette with printed flowers; mustard/light brown, cream, and denim pants; a pale yellow suit, complete with waistcoat; red and fuchsia minidresses; denim overalls, and pants and skirts in the same multicoloured fabric.

In this collection, Dolce & Gabbana’s look was consistent with the tradition of tailoring, which remained contemporary through the addition of softer blouses and dresses. Talking to Sarah Mower, the designer duo declared that the black skirts and hooked corsets connect Sicily with a geographical mix of Latino culture as expressed through leather or fringed belts. This eclectic mix demonstrated the ability of the designer duo to incorporate new and fresh references in a consistent and subtle way

5 within their traditional design philosophy. However, it also expressed contemporary fashion’s increasing mix of cultural and historical references that belong to other cultures. It is not clear what specific Latino aesthetics emerged in this collection other than a surface visual cue to an imaginary geography that could span from California to Mexico to Chile, and that shared only a vague common history referring back to the Spanish Conquistadors and the Spanish court dominating Sicily throughout the Renaissance. explained that the 1990s were characterized by a breakdown of the “total look”, as designers appropriated the mix and match of grunge, translating it on the catwalk with low and high fashion, which can be referred to Vinken’s “disharmonies”. Dolce & Gabbana answer was to introduce street wear in their collections, which was matched with tailored suits, clashes of accessories, necklaces, plastic and silk organza which were at any one time referencing Domenico Dolce’s homeland and contemporary subcultures.

The Fashion Show and Brand Identity

The rapid ascent of the brand represented the development of brand identity through the designers’ journey into the exploration of infinite references to Italian culture, history, and landscape. Throughout the 1990s, Dolce and Gabbana folded 1950s Italian cinema and divas within their collections. One of the biggest cinematic influences on Dolce and Gabbana is Luchino Visconti’s film The Leopard (1963) and especially the character of Angelica Sedara. The film is an adaptation of Tomasi di Lampedusa’s novel which concerns the dramatic passage of Sicily from a feudal economic system under the reign of the Bourbons to the newly founded Italian state in 1861. During Palermo’s invasion by Garibaldi’s red-shirts, the protagonist, the prince of Salina, finds refuge with his extended family in Donnafugata. Here, the town’s mayor Don Calogero introduces his daughter Angelica, played by a young and beautiful Claudia Cardinale, who ends up marrying the Prince’s nephew Tancredi. The iconic scene of the twenty-minute long ball, in which Angelica wears a billowing white lace dress, with exposed shoulders and décolleté and supported by an excessively wide crinoline, has inspired Dolce and Gabbana in the design of their ballgowns, which close all of their fashion shows. The wedding between Angelica, daughter of Donnafugata’s mayor, and the aristocratic Tancredi has been interpreted as the marriage between old and new Sicily, and the emergence of the new bourgeois class after the unification of Italy in 1861. This marriage between old and new, between aristocratic decorum and modern urban freedom (and new money) plays symbolically in Dolce & Gabbana’s collections, and ultimately determines the ethos of the brand.

The early 2000s marked a dramatic change in Dolce and Gabbana’s aesthetics. They abandoned glamorous and flashy crystals in lieu of more elegant, yet commercial designs. Covering the label’s collection of 2005, dubbed “rustic glamour”, Samantha Conti, journalist at WWD Magazine, reported Gabbana saying “we are sick of making clothes covered in Swarovski crystals… overtly sexy clothes. They’re cheap and they’re everywhere”. By then, the label was well established having introduced lingerie and a beachwear line in 1989, a menswear collection in 1990, followed in the same year by the opening of their first shop in Broadway in New York. In 1993, Dolce & Gabbana

6 launched their first fragrance. The definite breakthrough occurred when Dolce and Gabbana designed 1,500 costumes for ’ world tour The Girlie Show in 1993. In January 1994, the new D&G diffusion line for a younger demographic was launched. In 2005, the label celebrated its twentieth fifth anniversary. On that occasion, The New Yorker noted that

Dolce and Gabbana are becoming to the two-thousands what was to the nineteen- nineties and Armani was to the nineteen-eighties—gli stilisti whose sensibility defines the decade. In 2003, the designers sold more products in Italy—clothes, sunglasses, perfume, underwear, watches, jewelry—than any other fashion house.

While it is difficult to isolate a revolutionary change of silhouette in Dolce & Gabbana, the Sicilian decorum and modesty, inherited through 300 years of domination by the Spanish Kings that influenced the island’s aesthetics in clothing, architecture, and art, is the fundamental base canvas that Dolce and Gabbana build upon for their seasonal trendy variations. This design concept, accompanied by the label’s ability to capture young generations through designing outfits for music icons on tour – Madonna and in the early 1990s and 2011 respectively, for example – allowed a constant regeneration of the brand’s image. On the occasion of the opening of a Dolce & Gabbana shop in Toronto in 2013, Alessandra Ilari wrote on Flare “In the ever-changing fashion world, the lace, leopard spots and dense baroque florals of Dolce & Gabbana are a very sexy rock on which to cling”. By 2006, Dolce & Gabbana had also bought the historical cinema Metropol, where they established part of their headquarters. The cinema became their unique space for their fashion shows, which allowed the brand to be independent from collective runway spaces.

In Retrospect to Prospect: the future of the past

For the Spring Summer 2019 show, Dolce and Gabbana called on the supermodels of the 1990s to walk the show along with a younger generation of models, influencers and aristocrats. The show catered for consumers on many different levels by casting plus-sizes, while the intent with casting older models was to claim the brand’s history through the supermodels’ heritage, hence the pairing of older models with Millennials. Isabella Rossellini walked with her son and grandson; Carla Bruni, Monica Bellucci, and fifty-four-year-old Marpessa Hennink, with whom Dolce and Gabbana had a long standing relationship, also presented the designers’ latest collection. The show captured three decades of models, while symbolically celebrating Dolce & Gabbana history. The show was held once again in Milan, at the Metropol. The stage background was covered with imposing and heavy deep red velvet curtains and cascades of flowers. A man welcomed the audience, introducing the theme of the show. While this show was well received, shortly afterwards Dolce and Gabbana were forced to cancel their mega-show in Shanghai, after their ‘D&G Loves China’ advertisement, which depicted a girl eating pasta and pizza with chopsticks, attracted negative comments. To this Stefano Gabbana responded with racist comments on Chinese people and culture (“China ignorant dirty smelly mafia”) on his personal Instagram account.

7 Dolce and Gabbana are not new to controversy and brash comments. They have been criticised for defending Melania Trump for wearing a very expensive jacket, and for comments against in-vitro fertilisation and the right of gay couples to have children. Between 2011 and 2018, they had been embroiled in a lengthy battle with the Italian Revenue Agency for tax evasion. In a post- Shanghai article, Roger Aitken of Forbes noted the precarious position of Dolce & Gabbana in China as major Chinese online platforms had removed the brand from their Chinese arms; this could be very damaging for the brand, as the Chinese luxury market has been forecast to grow 20%-22% in 2019 alone. In November 2018, the press speculated on a possible split between Domenico Dolce and Stefano Gabbana. Only seven months earlier, the designers had created a trust for the brand (similar to Giorgio Armani who created a foundation in his name) and had rejected all offers from buyers. The label had already rejected offers in 2000, when luxury groups such as Prada, Gucci, and Louis Vuitton Moet Hennessy (LVMH) went through a campaign of global acquisition of fashion brands. Both designers demonstrated a clear commitment to the brand to remain national and local in its design aesthetics and cultural references. This is also evident in the creation of their couture line Alta Moda in 2011, which is entirely manufactured in Italy, and therefore is not admitted to the Chambre Syndicale de la Haute Couture in Paris. The couture line Alta Moda was founded in 2011, the year in which the diffusion line D&G was closed. Presentations of these collections occur in Italian and global locations, the first was Taormina in Sicily in 2012, followed by Naples, Mexico City, Hong Kong, Milan, Venice, Portofino, Capri, Lake Como, New York. In 2017, the Alta Moda collection was presented in London, in the occasion of the reopening of the label’s shop in Bond Street, along with the men’s Alta Sartoria (literally, ‘high tailoring’) collection. The show was held in the new retail space, decorated with marble floors and baroque chairs, forcing the audience to sit very close to the models and thereby admire the fine details of the garments. The last couture show was held in Como, only 17 days after the Shanghai debacle, and the presentation was a success. The collection was inspired by the glorious past of Milan during the Renaissance. Milan’s art in the Renaissance is less known than Florence’s art to global consumers, tourists and the press, with the exception of Leonardo da Vinci’s The Last Supper. In the collection, there were heavily embellished coats and dresses with large prints from paintings, continuing in the stereotypical narrative of the superiority of Italian craftmanship via the splendour of the Renaissance. Symbolically, the designers paid homage to Milan, and its working and industry driven ethos, also a stereotype that is played consistently in accounts of the birth of the Made in Italy.

Dolce and Gabbana have also experimented with technology, with their first foray into new technologies when the 1996 show was streamed on internet, and with use of techno-fabrics (for example, SS 1999). In February 2018, drones were sent on the runway carrying bags. This contemporary incursion into runway sensationalism is Dolce and Gabbana’s response to an extremely competitive environment, which is forcing the designer duo to bow to more elaborate runway choreographies. In addition, the brand is reinventing itself yet again by targeting millennial luxury with the reinterpretation of the brand’s staples of heritage, quality, and authenticity. A photographic

8 catalogue, Millennials: The New Renaissance, published in 2017, celebrates #dgmillennials, a promotional strategy similar to other photographic catalogues promoting leopard prints (Wildness 1998) and menswear, and commemorative books published in the occasion of their tenth and twentieth anniversaries. These are photographic books, with striking full-page images of advertising campaigns and runway shows, and details of the garments. The catalogue 20 years: Dolce & Gabbana (2005) illustrates the label’s history through its collections and advertising campaigns from 1986 to 2005, accompanied by interviews of the two designers. In regard to the new #dgmillennials promotion, Joseph DeAcetis commented in Forbes

“The design team is doing what they have always been doing; applying the same logic albeit on a slightly grander and moreover, younger stage. Verily., (sic) a progressive example of strategic sustainability and creative design that respects the new guard!”.

This comment can aptly be applied to other recent ventures of the label. Like many other global brands, Dolce & Gabbana has made a foray into the luxury Middle East market with a collection of abayas and hijabs for the rich Middle Eastern consumer. The first collection was launched in 2016, followed by a second in 2017 and then in 2018 with a show in Dubai that celebrated the opening of a boutique in the city. Dolce and Gabbana’s focus on diversifying their target consumer, on their label’s presence in global markets, staging of extravagant and mega fashion shows, and design flexibility while building on traditional silhouettes from Sicilian heritage points to the longevity of the brand and its design ethos.

References and Further Reading

Conti, Samantha. “Dolce and Gabbana”, WWD: Women's Wear Daily, supp. WWD The Magazine, Apr 1, 2002 https://gateway.library.qut.edu.au/login?url=https://search.proquest.com/docview/ 231101828?accountid=13380 (Accessed: February 2019)

DeAcetis, Joseph. “How Dolce and Gabbana defines a new idea in Millennial Luxury”. Forbes, 14 May 2018. https://www.forbes.com/sites/josephdeacetis/2018/05/14/how-dolce-and-gabbana-defines-a- new-idea-in-millennial-luxury/#21ad8b415e63 (Accessed: March, 2019).

Dolce & Gabbana generation: Millennials, the new renaissance. Dolce, Domenico, creative director; Gabbana, Stefano, creative director; Bianco, Giovanni, art director; Soletti, Fabio, art director; Dolce & Gabbana; GB65 (Firm), 2017.

Ferrero-Regis, Tiziana. “Fatto in Italia: Refashioning Italy”, Portal: Journal of Multidisciplinary International Studies, 5:2. https://epress.lib.uts.edu.au/journals/index.php/portal/issue/view/35

Gundle, Stephen. Glamour. Oxford: Oxford University Press, 2008.

Ilary, Alessandra. “Dolce & Gabbana come to Canada”, Flare, 35:3, 122-124. https://www.flare.com/fashion/dolce-gabbana-to-open-new-store-in-toronto-canada-2013/image/5/ (Accessed: November 2018)

Leitch, Luke and Evans, Ben. Vogue on Dolce & Gabbana. London: Quadrille, 2017.

9 Reuters. “Dolce and Gabbana speak on succession plans”, Business of Fashion, April 5, 2018 https://www.businessoffashion.com/articles/news-analysis/dolce-gabbana-speaks-on-succession- plans (Accessed: March 2019)

Mower, Sarah. 20 Years Dolce & Gabbana. Milan: 5 Continents Editions, 2005.

Sozzani, Franca. Personal conversation. Milan, Vogue headquarters, June 2010.

Sozzani, Franca. Dolce & Gabbana. New York: Universe/Vendome, 1998.

The New Yorker. “Hands and eyes. When Dolce met Gabbana”, Backstage Notes, 14 March 2005. https://www.newyorker.com/magazine/2005/03/14/hands-and-eyes (Accessed: March 2019).

Vinken, Barbara. Fashion Zeitgest: Trends and cycles in the fashion system. Oxford, New York: Berg, 2005.

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