Image: Courtesy of Valentino
the first Venice Biennale, and journalists, writers and collectors who will be curators for the first time Alexander Fury.
Valentino Garavani’s studio with the Spanish Steps in Rome.
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The curator’s coveted team no longer regards time as the organizing principle of the exhibition, Instead, focus on the location: Rome. “I think being a Roman fashion house is what makes Valentino so special and unique,” Piccioli said by phone. “Rome has been a huge influence on my work.” The Rome that evokes in the exhibition is not the Rome of postcards and stereotypes, but a real city inhabited by real people, especially Rome as Valentino’s hometown. Gioni said the creative director was clear he didn’t want to fall into “the trap of Rome’s prescriptive and kitsch views.” “I also think that what Piccioli brings to fashion, especially to Valentino, is Rome as a cosmopolitan city, a city that really lives, a place that has coexisted for centuries… a More multi-tonal cities, complex and beautiful in variety, than the Emperor’s narrative would have us believe.”
Photo: By Provided by Valentino
So the visitors start their “Forever Valentino” tour , as the brand’s employees start their day, into the courtyard of the headquarters (in this case a replica) Palazzo Mignanelli, where Igor Mitoraj’s oversized sculpture “Sorgente del Centurione” occupies the entire space. “What’s really interesting about this sculpture is that it kind of replicates this idea of turning fragments of the past into modern pieces,” explains Fury. “It’s an overview of the dresses designed by Garavani and Piccioli, so it initiates the idea of a dialogue between contemporary pieces and the past, energizes them, and encourages the visitor to make those connections between history and the present.” Required Note that the exhibitions, including this section, include both haute couture designs and ready-to-wear designs.
Fiesta dress by Valentino Garavani for spring 271 fashion.
Image: Courtesy of Valentino
Image: Courtesy of Valentino
EXPLORE THE POWER OF COLOR in what Fury calls “Renaissance” shades left and right. “It’s very much about this gorgeous, strong, very instinctive response to colour, which in Pierpaolo’s work is an incredible tool that he uses very much,” the curator explained. Well, and everyone knows him.” “It also ties it back to Mr. Valentino’s use of color.” The color of the clothes isn’t the only thing that matters here. “We decided to use five-color mannequin skins to depict different cultures, different races,” Piccioli said. “I think it’s important to me to convey this idea of diversity; we can’t take for granted what we don’t have right now, so all of us have to give…the idea of equality and dignity across cultures.” Remember , Piccioli is a reimagining of Cecil Beaton’s famous 
