Ulisse_mar

MODA
New Talent Christian Pellizzari, sfilata A/I 15 - 16
Patrizio Bertelli, Stefano Sassi, Renzo Rosso, Gildo Zegna e Luigi
Maramotti. Questi hanno dato segno di grande generosità e maturità
perché quando hanno accettato di entrare in Camera Nazionale della
Moda Italiana non si sono solo impegnati personalmente ma hanno
anche portato una dote rilevante affermando: «Se dobbiamo fare
un lavoro più importante dobbiamo dotare la Camera di risorse», in
quanto si sono resi conto che, rispetto alle altre organizzazioni internazionali,
Milano aveva un budget decisamente minore. Hanno deciso
di aumentare la loro quota associativa in funzione del fatturato,
alcuni passando da 26.000 euro a 250.000 euro, un fatto importantissimo.
Questi personaggi non solo hanno dato un impulso economico
notevole ma hanno altresì accettato di avere in assemblea comunque
un solo voto, a prescindere dalla cifra che pagano. Questo è un grande
segno di generosità e di democrazia perfetta. Lo stilista che fattura
3 milioni di Euro l’anno ha lo stesso potere di voto rispetto a chi ne
fattura 3 miliardi. Le ambizioni che ci poniamo non sono di potere
ma di servizio, la Camera vorrebbe essere più forte di quello che è
attualmente, per avere quella capacità progettuale di orchestrare il
sistema moda italiano. In passato l’individualismo dei vertici delle
varie istituzioni non ha permesso di raggiungere questi risultati ma
più recentemente abbiamo capito che bisogna avere un altro passo e
remare tutti nella stessa direzione.
Quali sono gli obiettivi che vi siete posti dopo l’ultima riunione?
E qual è il primo obiettivo della CNMI?
Nel panorama mondiale sono quattro le Fashion Week internazionali
che dettano le regole del mercato. Ve le elenco in ordine cronologico
di effettuazione: New York, Londra, Milano e Parigi. Parigi e Londra
sono due grandi capitali, New York per certi aspetti lo è ancor di più e
poi c’è Milano che è una ‘bomboniera’, una cittadina rispetto alle alinstitutional
relations with these countries. One of my greatest
satisfactions was sitting at the same table on the Strategic Committee
with people like Patrizio Bertelli, Stefano Sassi, Renzo
Rosso, Gildo Zegna and Luigi Maramotti. These men showed
signs of great generosity and maturity because when they
agreed to join the National Chamber of Italian Fashion they
not only committed personally but also brought significant talent,
saying: “If we have more important work to do, we have
to equip the Chamber with resources”. They realised that Milan
had a much lower budget than other international organisations.
They decided to increase their membership fee based on
sales, some from € 26,000 to € 250,000, a very important fact.
These people not only gave a significant economic boost but
also agreed to have one vote at the meeting, regardless of the
amount they pay. This is a great sign of generosity and perfect
democracy. The stylist who invoices € 3 million a year has the
same voting power as those who declare three billion. Our ambitions
are not power but service. The Chamber would like to
become stronger, to have the planning skills to orchestrate the
Italian fashion system. In the past, the individualism of management
in the various institutions kept us from achieving these
results, but more recently we have understood that you have to
take a further step and work together.
What goals were set at the last meeting? And what is the National
Chamber of Italian Fashion’s primary objective?
There are four international Fashion Weeks that dictate the rules
of the market. The list in chronological order is New York,
London, Milan and Paris. Paris and London are two great capitals,
New York even more so in some ways, and then there is Milan,
a “bonbon”, a small town compared to the other three, but
the value of things is not measured by size. Milan is invaluable
as long as it aims for excellence. For the future it will focus on
quality and Made in Italy, which has always been recognised as
a sterling, unequalled value of quality and excellence, given the
sartorial and manufacturing traditions our country can boast.
I’m not saying we shouldn’t outsource some production, but designers
who create and produce everything abroad inextricably
relinquish their DNA, and consumers who are now more and
more attentive to quality and price prefer companies like Zara
and H & M.
Let’s talk about Expo. How are you moving?
Expo (Milan World Exposition 2015) is a great opportunity, not
only a goal but a good starting point. As a welcome, we have
presented two projects that are our first goal in every Administration,
first under Moratti and then Pisapia. The two documents
are called “Enjoy Milan 1” and “Enjoy Milano 2”. The
first documents all the interventions we believe should be made
for visitors to Milan for whatever reason - work and tourism are
two examples. The second is for those who come for fashion, a
somewhat more sophisticated plan that provides targeted services
during Fashion Week. We’ve asked for these projects to
make Milan more international and cosmopolitan. For EXPO,
we’re moving to concentrate certain events at the EXPO 2015
site, but trying to bring attention directly to the city, especially
the fashion district, our crowning glory. The big news is that
the men’s fashion shows in June and the women’s wear catwalk
shows in September will have an extra day for international
presences.
The Chamber’s first goal is to re-launch the city of Milan.
The second?
Young designers. I would even put this goal in first place. We
had a sensational season with the founders of ready-to-wear,
many of whom are still alive; others like Versace and Ferrè are
long gone. Italy is in search of their legitimate successors. In
recent years, the CNMI has given great visibility to young designers,
allowing them to show during Fashion Week no longer
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