D-la Repubblica delle Donne

Weekly supplement to the daily la Repubblica. It made its début on newsstands on May 21st 1996. The editor-in-chief was Daniela Hamaui, who gave the magazine a new approach compared to traditional women’s magazines. Investigations, reportages, and great attention the photographic image soon made it a trendy publication to the point that Wall Paper, a monthly bible of fashion trends, called the magazine a “cult.” In 2002, Hamaui was hired by the weekly L’Espresso. Her position at D was taken over by Kicca Menoni, who left Marie Claire (Mondadori) and signed her first issue on March 12th 2002. Over the years, despite changes in graphics and layout, the magazine continued to work with its top collaborators, including Giuseppe Turani, Vittorio Zucconi, and Umberto Galimberti, who wrote a weekly column called Fashion. It was coordinated by Marina Codecasa Cavallo, who became fashion director in 2003, and it featured the work of great photographers such as Wayne Maser, Robert Erdmann, Christophe Kutner, and Diego Uchitel.

D.E.S.S.

The Degree of Specialized Superior Studies is a course on fashion and design offered by the Institute of Communication at the University Lumière-Lyon 2 in Lyon, France. It was started in order to provide tools for making observations about fashion, without limiting them just to clothing. It is meant for students who have already obtained their first university degree and show specific interests and skills. Enrollment is limited to 25 students. The course of study lasts one year and includes 350 hours of lessons from October to April that are divided into three areas: technique and design; business enterprise; culture and communication. There is also a three-month practical session with workshops and meetings with people in the trade. Besides the D.E.S.S., the Lumières-Lyon 2 University offers two more specialized courses: the D.U.C.T.H., for design in the textile-clothing sector, and the D.U.E.R.M. which, with one further year of complementary education after the D.E.S.S., grants a degree in fashion studies and research.

D’Agata

Gaetano (1906-1975). Milanese shoemaker, born in Pachino (Siracusa). He began his work as a shoemaker in Rome at Gatto, the workshop of his brother-in-law. He gained more experience during five years in Paris with the famous Perugia and Greco. In 1934, he opened his own shop at via Morone 3, in Milan, where he made ankle boots, evening shoes, laced shoes with a fringe, derby, and loafers, all worked with skill in many kinds of leather, from kidskin to patent leather. From 1969 to 1974, he worked with Emilio Arcando. Among his clients were Tito Carnelutti, all the Falcks, the dandies Massimo Belloni, Leonardo Vergani, and Luigi Settembrini, and all the elegant salons of Milan. He closed in 1974.

D’Aillencourt

Simone (1930). French model. She made her début in 1954 with Hardy Amies. Noticed immediately by the most important fashion magazines, including Vogue, Harper’s Bazaar, and Elle, she began a lightning international career. She posed for all the great photographers: Avedon, Bourdin, Hiro, Horvat, Klein, Newton, and Sieff. She retired in 1969 in order to open the model agency Modèle International. A skilled talent scout, she discovered and launched models such as Vibeke Knudsen and Ingmarie Johanson. In the late 1980s, she founded a modeling school.

D’Amico

Antonio (1959). His interest in fashion came from his mother, who was a dressmaker. The most important meeting of his life was with Gianni Versace, in whose firm he worked for 13 years up until Versace’s death, attending to the design of theater costumes (he worked with Maurice Béjart, Bob Wilson, William Forsythe, and Arnaldo Pomodoro), of the Istante and Versace Sport lines, and of licensing. In 1992, he worked with Versace on the image of The One, Elton John’s world tour. In 1998, in partnership with Massimo Leotti, he created the Antonio D’Amico company, offering casual prêt-à-porter for men and women, knitwear, shoes, and accessories.

D’Ancona

Laura (1965). Italian designer, a researcher and fan of vintage. Owner of the design studio Ld’ALab, she also works as a consultant in the fields of clothing and accessories, and teaches at the European Institute of Design, the IED. Born in Rome, after her classical high school studies, she graduated at the top of her class and received a degree in Style and Fashion from the European Institute of Design in Rome (advanced 4-year course) in 1988. She then began a five-year apprenticeship in a design office, where she worked on brands specialized in shirts and jackets, with a preference for the casual and the world of sport. She immediately developed her passion for vintage and her interest for street style in general, traveling in Italy and abroad in search of and buying archival pieces. In 1993, she opened her own design studio and, with the help of a team of collaborators, became a consultant for brands and companies such as Ferretti Studio, Gattinoni, Fendissime, Gas, and Cotton Belt. In 1998, she created, in partnership with the brand A.n.g.e.l.o. of Lugo di Romagna, owner of the largest Italian second-hand clothing archive, a basic Collection of vintage clothes. At the moment, she designs, for the emerging brand Panepinto of Milan, a line focused on knitwear and on small, fanciful, precious, ornate pieces. For the Soffiantini Group of Brescia, she designs the Kiltie line, which is a niche Collection of very high quality that is trendy in its lines, details, and subtle content.

D’Annunzio

Gabriele (1863-1938). Poet, writer, and dramatist. He was one of the most elegant men of Italy, a sort of national Beau Brummel. This was discovered in 1988, when suits, coats, ties, waistcoats, pajamas, nightgowns, spats, underwear, riding outfits, raincoats, hats, handkerchiefs, gloves, starched collars, white piqué scarves to be worn around the neck, a bear skin fur, and suspenders were all taken from the closet of his last home for the exhibit D’Annunzio’s Wardrobe, organized for Pitti Uomo by Annamaria Andreoli, president of the Fondazione Il Vittoriale degli Italiani. This wardrobe is the most complete document concerning men’s fashion in Italy from the late 1800s to the first decades of the 1900s. The labels on those garments represent the very best of those years as to tailoring workshops (De Nicola and Petroni in Naples, Prandoni in Milan); shirt makers (Bonaldi in Venice, Dalmasso in Florence); shoemakers (Quinté in Milan, Montelatici & Volpi in Florence); and boutiques (Pozzi in Milan, Salvatore Morziello in Naples). When, in 1895, he embarked on the yacht Fantasia, owned by Edoardo Scarfoglio, the director of Il Mattino of Naples, for a cruise to Greece, D’Annunzio neatly listed what he was to take on board: “Iron grey suit, black-and-white check suit, brown suit with tait, light brown shirt, three white flannel suits, black tait, light pants, smoking jacket, six white waistcoats.” He would say about himself: “I am an animal of luxury.” And because of his voracity for luxury he would pile up such a quantity of debt that he was forced to leave Italy in flight from creditors. But his taste and his eye for fashion helped him in his job as a reporter when, in Rome as a young man, he earned his living as a journalist, signing his pieces as Duca Minimo: “Nothing is more voluptuous, in a refined way, than an otter fur that has already been used for a certain period of time.” His novel Pleasure is full of fashion details. If he had to buy a gift for a woman, he would ask the dressmaker Marta Palmer (it was the late 1920s) to put a label that read Gabriel Nuntius Vestiarius Fecit on the dress or cloak. And he was very precise in his requests: “I’d like a large cloak for a very tall lady. I’d like it black, loose, light, with a big bunch of red roses (a very intense color), secretly embroidered on the reverse side….The roses must be tied with a gold ribbon and a big flourish. Something rich, violent, and done secretly.” When, in the mid 1930s, the dressmaker Biki offered him some blouses for the pianist Luisa Baccara, his last partner, he wrote her: “Admiring not in a lifeless shop window but in vital movement the folds, the gaps, the solid fabric and the airy lace, the seams and hems, they have appeared to me as elements of a precise rhythm and a vague unknown, and thus, of poetry.”