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Across Art and Fashion ACROSS ART AND FASHION Exhibition project at several with the fundamental support by venues curated by Ministero dei Beni e delle Attività Culturali Stefania Ricci e del Turismo Soprintendenza Belle Arti e Paesaggio per Promoted and organized by le Province di Firenze, Pistoia e Prato Ministero Soprintendenza Fondazione Ferragamo dei beni e delle Belle Arti e Paesaggio attività culturali per le Province di Museo Salvatore Ferragamo e del turismo Firenze, Pistoia e Prato with the participation of In collaboration with Fondazione Massimo e Sonia Cirulli, Bologna Biblioteca Nazionale Centrale Firenze Gallerie degli Uffi zi, Galleria d’arte moderna e Galleria del Costume di Palazzo Pitti with the contribution of Florence Centro di Firenze per la Moda Italiana Museo del Tessuto Prato Museo Marino Marini Florence with the patronage of Ministero dei Beni e delle Attività Culturali e del Turismo Regione Toscana Comune di Firenze 1 Across Art and Fashion Rifl essi, 2016, concept The Fashionable Nostalgia for the Future Museo Salvatore Stefania Ricci; art 19th Century in Post-war Artistic Ferragamo direction and execution Gallerie degli Uffi zi, Fabrics Florence Karmachina (Vinicio Galleria d’arte moderna Museo del Tessuto Palazzo Spini Feroni Bordin, Paolo Ranieri, di Palazzo Pitti, Prato 19 May 2016 Rino Stefano Tagliafi erro); Sala del Fiorino 21 May 2016 7 April 2017 editing and compositing Florence 19 February 2017 Opening hours: Karmachina and Raffaele 19 May 2016 Opening hours: 10 - 7.30pm Amici; sound design 24 July 2016 Tuesday - Thursday Closed 1.1, 1.5, 15.8, Alberto Modignani; lights Opening hours: 10am - 3pm, Friday - 25.12 Wat Studio; multimedia 8.15am - 6.50pm Saturday 10am - 7pm Opening event 18 May service Closed on Monday Sunday 3pm - 7pm A.V. Tech. Closed on Monday Edited by Edited by Opening event 20 May Maria Luisa Frisa Shop window artwork Stefania Ricci Enrica Morini Riccardo Benassi with the collaboration of Edited by Stefania Ricci Caterina Chiarelli Daniela Degl’Innocenti Alberto Salvadori Simonella Condemi Filippo Guarini Italian Periodicals of Stefania Ricci Video installations the 20th Century THE moodboard… A Biblioteca Nazionale Collaborations MAGAZINE CURATED BY…, Centrale Florence Museo Marino Marini Layout design 2016, concept Alberto 20 May 2016 Florence Silvia Cilembrini Salvadori based on 15 October 2016 19 May 2016 Fabio Leoncini A MAGAZINE CURATED BY; Opening hours: 31 July 2016 art direction and 10am - 6pm Opening hours: Catalogue execution Closed on Saturday 10am - 5pm edited by Stefania Ricci Karmachina (Vinicio afternoon, Sunday and Closed on Tuesday, Mandragora s.r.l. Bordin, Paolo Ranieri, public holiday Sunday and public Rino Stefano Tagliafi erro); Opening event holiday Technical sponsors editing and compositing 20 May AON S.p.a. Insurance & Elisa Serravalli Edited by Reinsurance Broker, and Karmachina; Edited by Stefania Ricci Florence sound design Stefania Ricci with the collaboration of A.V. Tech S.r.l. Alberto Modignani; Luca Scarlini Alberto Salvadori Bonaveri Unipersonale S.r.l. multimedia service A.V. with the collaboration of Desmos S.p.a. Insurance Tech. Anna Nicolò Broker, Rome Francesca Piani Epson / For.Tex 2 Lenders Archivio Germana (Pistoia) Biblioteca Comunale Marucelli, Milan G. Pugi Collection, Prato Centrale Archivi di Ricerca Mazzini, Enrico Quinto e Paolo Sormani, Milan Massa Lombarda (Ravenna) Tinarelli Centre Pompidou - Mnam Archivio Storico dell’Istituto Collection, Rome CcI Luce, Cinecittà S.r.l., Rome Franca e Cosima Scheggi Bibliothèque Kandinsky, Archivio Storico della Collection, Milan Paris Fondazione Micol Fontana, Direzione Teche Rai, Rome Deutsche Kinemathek, Rome Fondazione Arte della Seta Museum Archivio THAYAHT & RAM, Lisio, Florence für Film und Fernsehen, Florence Fondation Pierre Bergé – Berlin Associazione Culturale Yves Saint Laurent, Paris Fashion Museum Hasselt, Museo Casa Mollino, Turin Fondazione Biagiotti Hasselt Bauhaus-ArchivBerlin, Berlin Cigna, Rome La Triennale di Milano, La Biennale di Venezia, Fondazione Giorgio Cini, Milan Archivio Storico delle Arti Venice Manchester City Galleries, Contemporanee, Venice Fondazione Massimo e Manchester Renzo Arbore Collection, Sonia Cirulli, Bologna MAK - Austrian Museum of Rome Fondazione Gianfranco Applied Arts, Vienna Emanuela Barilla Ferré, Milan MoMu - Fashion Museum Collection, Parma Fondazione Musei Civici of the Province of Antwerp, Branchini-Grampa di Venezia, Museo Fortuny, Antwerp Collection, Busto Arsizio Venice Musée des Arts décoratifs, (Varese) Fondazione Pitti Immagine, Paris Cardazzo Collection, Florence Museum Boijmans Van Venice The Miyake Issey Beuningen, Rotterdam CLM/Seeber Collection, Foundation, Tokyo National Portrait Gallery, Rome Blain|Southern Art Gallery, London Valentina Cortese London - Berlin Philadelphia Museum of Collection, Milan Hussein Chalayan, London Art, Philadelphia Enrico Coveri Collection, Judith Clark Studio, London Victoria and Albert Florence Galerist, Istanbul Museum, London Maria Luisa Frisa Galleria Massimo De Hull Museums, Hull Collection, Venice Carlo, Milan, Takamatsu Art Museum, Luciana Giuntoli Gentilini London, Hong Kong Takamatsu Collection, Rome Galleria Fumagalli, Milan The Kyoto Costume Institute, Gori Collection, Pistoia Galleria Studio la Città, Kyoto Paolo e Serena Gori Verona The Museum at Fashion Collection, Prato Galleria Tornabuoni Arte, Institute of Technology, Federico Luger Collection, Florence New York Milan Makos Studio, New York Archivio Bice Lazzari, Madeinart Collection, Studio Wenda Gu, Rome Milan Shanghai Archivio Ditta Pugi R.G., Ugo Nespolo Collection, Viktor & Rolf, Amsterdam Prato Turin Yohji Yamamoto Inc., Tokyo Archivio Fondazione Giuseppe Paccagnini and other Private Roberto Capucci, Rome Collection, Montecatini collectors≠ 3 ACROSS ART AND FASHION Is fashion art? This simple question conceals the complex universe of an articulated relationship that has long been investi- gated, but without arriving at a clear and unequivocal definition.Fashion – because of its need to be functional and thus refer to real life, but also its bond with craftsmanship and industry – seems to be far removed from the ideal of art pour l’art, a concept that nevertheless has not always been representative of the art world.Andy Warhol has taught us that the uniqueness of artwork no longer meshes with artistic production, and today we find a plethora of exhibitions by fashion designers, who in turn embrace the practices of contemporary art. In this context, can we still talk about the dichotomy between art and fashion as was the case in the 20th century? This project analyses the forms of dialogue between these two worlds:reciprocal inspirations, overlaps and collaborations,from the experiences of the Pre-Raphaelites to those of Futurism and from Surrealism to Radical Fashion.The exhibition itinerary focuses on the work of Salvatore Ferragamo, who was fascinated and in- spired by the avant-garde art movements of the 20th century, on several ateliers of the Fifties and Sixties that were venues for studies and encounters, and on the advent of the culture of celebrities. It then examines the experimentation of the Nineties and goes on to ponder whether in the contemporary cultural industry we can still talk about two separate worlds or if we are instead dealing with a fluid interplay of roles. The unique aspect of the exhibition programme lies in the collaboration of several cultural institutions and the fact that it is being held at different venues.In addition to the Museo Salvatore Ferragamo, promoter and organizer of the project together with the Fondazione Ferragamo, the various exhibitions are being hosted by the Biblioteca Nazionale Centrale, the Gallerie degli Uffizi (Galleria d’arte moderna di Palazzo Pitti) and the Museo Marino Marini in Florence, and by the Museo del Tessuto in Prato. These institutions took an active part in implementing this concept with the aim of inspiring joint reflection. The emblem of the exhibition. It is a tribute to the Museo Salvatore Ferragamo that curated and conceived of the project and a symbol: on the one hand, a decorative element essential to the aesthetics of one of Salvatore Ferragamo’s models from 1958, the Tirassegno pump, and on the other a work by one of the great American artists of the second half of the 20th century, Kenneth Noland, who inspired it. The exhibition curators. The exhibition project involved numerous people. The Museo Salvatore Ferragamo exhibitions has 4 curators: Stefania Ricci, Museo Salvatore Ferragamo Director, Maria Luisa Frisa, Enrica Morini, and Alberto Salvadori. Bringing in their varied areas of expertise and personalities, they worked day after day on the construction of this itinerary, along with the directors and staff of the different institutions that are participating in this initiative with great enthusiasm and spirit of collaboration and that worked with the authors of the catalogue, who helped the curators in the final choice of artworks, offering their knowledge and professional experience. There are numerous loans from the most prestigious public and private collections, both in Italy and around the world, giving this exhibition an International air. 4 The exhibition: the sections on display at Museo Salvatore Ferragamo and the other locations Museo Salvatore Ferragamo Across Art and Fashion 1. The Case of Ferragamo. The first section of the exhibition is devoted to Salvatore Ferragamo and his shoes, which were considered genuine works of art as early as the Thirties,
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