![]() ![]() In September in Dallas the Missonis receive the ‘ Neiman Marcus Fashion Award’, the prestigious international award for Fashion, the equivalent of the Oscar, which since the year it was established (1938) has been awarded to names such as Schiaparelli, Chanel, Dior, Pucci and even Georges Braque for his jewelery collection. The family moves to the new house in Sumirago built in the woods adjacent to the company. In November Woman’s Wear Daily in an editorial “Who has Fashion Power?” places the Missonis among the twenty Fashion Powers in the world. The SS 1972 Collection is sold in Dallas by Neiman Marcus. In May again, Bernadine Morris writes in the New York Times in an article dedicated to the Missonis: “They make the best knitwear in the world, someone says the most beautiful fashion in the world”. In spring, the Los Angeles Times presents the Missonis as “The New Status Symbol of Italian Design”. In November, Bernadine Morris wrote in the New York Times: “This is what Chanel would do if she were still alive, young and working in Italy”. The newspapers began to compare Ottavio’s chromatic compositions to contemporary works of art. In March, the Missonis present in Cortina an après-ski women’s collection: a total look of solid color knit suits with multicolor inserts patchwork. The SS 1971 Collection is sold in New York by Saks Fifth Avenue. “To work in a place considered ideal for spending the weekend… If anything, you go to the city for the weekend,” says Ottavio.įor the cover of the February issue of Vogue Men, Oliviero Toscani photographs Lino Capolicchio, defined as “the best young actor in Italian cinema”, with an exclusive patchwork created by Ottavio Missoni at the request of the journalist Anna Piaggi. In the hills, between woods and countryside, where you can see Monte Rosa as Rosita has always seen it from Golasecca. They built the new plant in Sumirago based on a project by Enrico Buzzi. In April, Woman’s Wear Daily, the newspaper considered to be the verb of fashion, dedicated the opening page to Missoni, writing: “Missoni leads the way with one of the most sinful dresses among those inspired by Art Deco”. It is the famous phrase that Diana Vreeland says on this occasion and it will be she who will later organize a series of meetings for them in New York with the most important buyers, fairy godmother and tutelary deity from overseas 1969 “Who says there are 7 colors? There are also tones!”. In autumn for interest of Consuelo Crespi Tai e Rosita met Diana Vreeland at Grand Hotel in Rome. In Cefalù they receive the ‘Moda Mare’ award. 1968Įven the USA is starting to take notice of their work and in France Elle puts a ‘Missoni’ on the cover. In this year they bring their collection for sale in Paris, achieving growing success. Thus they take the opportunity to present their summer collection in Milan at Piscina Solari in what is defined as “a memorable and singular aquatic show” based on inflatable armchairs and floating and transparent furniture. So in the following edition, while in Paris Yves Saint Laurent launches the nude look, Tai and Rosita are not invited to Florence. Elsa Rossetti opens the piece with the title “Even a sexy evening at the fashion shows in Florence” and comments: “Missoni’s ideas were the most whimsical and eccentric of the day”. The reproaches of the executives rained down: “What do they think, that Pitti is the Crazy Horse?”. Rosita realizes at the last moment that the mannequins didn’t have what Marilyn Monroe called “ the intimates” of the right color under the very light lamé blouses and sends them on the platform without a bra under the shirt which, in the light of the spotlights, becomes transparent. In April they are present for the first time at the Palazzo Pitti fashion shows in Florence. They conquer their first cover on Arianna. In November at the 12th port-à-porter show in Paris they present the Spring Summer 1967 collection. It is said that the vertical “cut” in the backdrop of the scene from which the models emerged must have been made by Lucio Fontana, at Colombo’s request. A kind of magic made up of Chinese shadows that took shape and resumed it in this carousel of surprises”, writes Carletto Colombo, director of the theatre, of that evening-event. “Splendid girls armed with colored felt-tip pens, traced signs and drawings on a backdrop that also served as from ‘transparent’ behind which the mannequins repeated, in a whirlwind of changes of light, the gestures made in the proscenium and almost visibly changed the toilets which would reappear in an authentic dimension in front of the transparent. It is a collection that breaks with the traditional patterns of the use of knits. In June they have great success by presenting to the press, at Theatre Gerolamo in Milan, their first fashion show with the Fall Winter 1966 collection. ![]()
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