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Models at the Fontana di Trevi
Lagerfeld and Venturini Fendi at the fittings
Bella Hadid at the Fendi autumn/winter 2016-17 couture show
The setting at the dinner following the show
Karl Lagerfeld and Silvia Venturini Fendi at the Fendi autumn/winter 2016-17 couture show
Kendall Jenner at the Fendi autumn/winter 2016-17 couture show
Bhumika Arora at the Fendi autumn/winter 2016-17 couture show
Kate Hudson at the Fendi autumn/winter 2016-17 couture show
Fendi’s new headquarters at the Palazzo della Civiltà Italiana
For fashion folk, expecting the unexpected is almost a job prerequisite. This is an industry that prides itself on being miles ahead of every curve. And yet even the most jaded of fashion insiders—all flown in on a private Fendi-emblazoned jet from the couture shows in Paris—were not prepared for the spectacle that unfolded on a balmy July evening in Rome.
The occasion: Fendi’s autumn/winter 2016-16 couture show and 90 years of the atelier in Rome. The location: The newly refurbished Trevi Fountain, that iconic monument in the heart of Rome said to make wishes and dreams come true. Even for a house known for its dramatic settings—they once showed at the Great Wall of China—this was a coup.
As I sat on the steps surrounding the fountain with influencers like Chiara Ferragni, editors of Vogue worldwide, designers such as Maria Grazia Chiuri and Pier Paolo Piccolo and actors such Kate Hudson, one was hard-pressed to imagine that even in their wildest dreams the five Fendi sisters could have dreamt of a celebration of this scale in their hometown.
While the fashion of culture has long been spoken about, flip it, and the culture of fashion proves as integral for heritage brands today. For maisons like Fendi, preserving their craft and their artisans in the age of the mass market is essential. This preservation extends far beyond their ateliers. It goes to their roots—in this case, the city of Rome. And that’s why Fendi’s 90-year celebrations would have been incomplete without the reopening of the Trevi Fountain, which the house had pledged to restore in 2013.
Fashion today exists in the culture it was born in. For Legends and Fairytales, the house’s second haute fourrure show, designer Karl Lagerfeld referenced the 1914 fairy tale East Of The Sun And West Of The Moon by Kay Nielsen, the mood of which, he said, has always shown up in his childhood. Showcased on an acrylic ramp across the Fountain, it seemed that the models, It girls like Kendall Jenner and Gigi Hadid, were walking on water (talk about apt symbolism in the Eternal City) in feather-light, minutely detailed fur creations that showcased the incredible artisanship for which the Fendis are known.
If breaking the internet is the new parameter of success, the show at Trevi Fountain secured Fendi’s spot in fashion history with the flood of Instagrams, tweets and Snapchats that ensued. But the show was only one aspect of the celebration, which extended to a dinner at the Terrazza del Pincio in the lush Villa Borghese gardens; the Fendi Roma: The Artisan Of Dreams exhibit at the new Fendi headquarters, the Palazzo della Civiltà Italiana (which featured a super cool Bag Bug Infinity Room and 300 of the said bag bugs); the renovated Fendi flagship; and a book, Fendi Roma, celebrating the maison’s heritage.
Earlier that day, in the midst of the whirlwind, we managed to get creative director Silvia Venturini Fendi to talk about roots, relationships and renewal.
The past and the future are colliding for you. Ninety years young… how are you feeling tonight?
When you are Roman, the Trevi Fountain represents our city. It’s iconic. As a young girl, I used to throw coins and make a wish. So seeing Fendi as a part of this monument is incredible; at the rehearsals I was overcome with emotion. Being a Fendi, being Roman, being a part of this creative force…. You know, showing couture is a new project for us; this is just our second showing.
You seem remarkably calm. I remember you telling me that the city is the perfect place for a designer. What is the most inspiring part of Rome for you?
(Gestures around) This palazzo, Fendi’s new headquarters, is an incredible place. It was a secret because it had been closed for 70 years and nobody had been inside. Now we have this exhibition that is going to stay open for four months and people can see the show and also this landmark. The Colosseum is another favourite. I just discovered San Saba, a small, calm locality of really beautiful brick buildings; the Garbatella, which is another area close to San Saba. Go to Ostiense, where you can visit the most beautiful museums—Centrale Montemartini is my favourite museum. It used to be an industrial site but today there are incredible pieces that come from Museo Capitolini, mosaics and statues that are displayed in front of industrial machinery. So there is this clash between the past and modern life. Then you can go have lunch or dinner at Perilli, which is my favourite restaurant—very popular, very traditional. It’s where you really eat the most incredible, real Roman food. I’m so proud of this city because every day I discover something new. There’s so much to see. It’s not only what you see on top but also what’s underneath all the streets of Rome—there is another city that is hidden, secret.
The hidden city. And the Eternal City. It’s an apt descriptor for Fendi, where fashion and culture have always been linked. In today’s context, what role do fashion and culture play with regard to each other?
If you look at fashion, through archives and through the history of fashion, you can really read the evolution of a country and the people. And especially here, in a company that has this long history, through our archives you can see how things have changed and how these have been reflecting into our collections. For instance, think about the changes that Fendi brought to fur, how we changed the perception. In the past it was a garment used by kings and emperors, it was this emblem of power—the bigger the coat, the more successful the man. The Fendi sisters brought their point of view as women and designers and they brought in fashion and innovation, making them slimmer and lighter. The women in the ’50s and ’60s, who were starting a new life, going to work, and moving up in society, needed something that was more practical, lighter.
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What role does fur have in a young woman’s wardrobe? You have two daughters. How do you like to see them wear it?
I like the light element of it. The playfulness. The Fendi monster charms and bugs really concentrated on our DNA—bright colours, whimsical, it makes you laugh. It’s so soft, it’s anti-stress. It goes against the notion of fur being heavy. These monsters have been, and are, a way of owning Fendi for any age group.
Evolution, renewal.. Those are such important words for you.
It’s a state of mind. There have been many important moments. Fendi has been the first for many things in fashion—in furs, yes, but also in our leathers and bags. But I think it’s our attitude of taking risks, breaking rules and having courage. We have shown a collection on the Great Wall of China. Today we are seeing the girls walking on the water at the Trevi Fountain. These are not things easy to do. In a global world, you want to bring this story out. It’s important to have the vision of context, of place. With the advent of the internet, everything is more complex. Let’s take the Baguette, for example—the success was not only for Fendi because suddenly fashion evolved to handbags. The first Baguette was treated like a garment. It was a bag that was considered a manifesto that brought in innovation at a time when bags were made of leather and nylon. We subverted the rules.
How would you define La Dolce Vita for today?
Romans are very spoiled because we live in a city that is beautiful. We have incredible weather and life is very pleasant. We have this beauty that surrounds us, so we are a bit snobbish in a way because you say, “Oh, maybe I’ve seen everything, I don’t need to go and see more.” Life is changing, of course. Perhaps dolce vita was very much linked to cinema at that time. That was important because it really brought Italian style to the world. Today maybe it’s also fashion that’s contributing to it.
Speaking of cinema, Fendi has a long history. Many of your actor friends came to the show to support Fendi. What are your favourite moments?
Gruppo di Familia un Interno, which, for me, was an incredible movie because it really is about Romans; it’s the story of this old man who’s confronted with modernity and the past. Which is really what Roma is today and always will be. So this movie is really beautiful, not just because we did the costumes but because it really represents Italy.
Finally, complete the sentence. When in Rome….
(Laughs) Come to Fendi!
The post How the past and the future of the Fendi family work in harmony appeared first on VOGUE India.