Cesare (1959). Italian designer. He lives and works in Florence. In 1981, he made his début in the world of fashion as buyer, art director, and designer for the Florentine brand Luisa Via Roma. From 1987 to ’89 he designed the Zuccoli Donna collection for Gibò of Florence. He was given the task of managing the Oliver line for Valentino, for both men and women. From 1992 to ’97 he was in charge of the Loewe women’s collection. In March 1998 he started his own business and designed his first Autumn-Winter collection. By the third collection, his griffe was on sale throughout the world.
&Quad;2002, September. For the first time, the Bloomingdales department store in New York dedicated all its windows on Lexington Avenue to him, on the occasion of the launch of his Spring-Summer 2003 collection.


Peter Karl (1846-1920). Russian jeweler. He was a descendent of a Huguenot family and born Piccardie. In 1870, he was at the head of his father Gustave’s goldsmith workshop in St. Petersburg after having traveled to Germany, France, England, and Italy in order to learn the secrets of the trade. In 1882, he won the Gold Medal at the Artisan and Industrial Exhibition of Moscow, drawing the attention of the Empress Maria Fiodorovna, who would commission jewellery from him in the ancient Greek style. Together with his brother Agafon, Peter Karl had, in fact, achieved fame thanks to the manufacture of copies of Greek jewellery found in the archaeological excavations at Kerc. Appointed supplier to the imperial court in 1885, together with jewellery manufacturing — essentially sets of jewellery based on stylized floral motifs and on gems with a cabochon cut — the young Fabergé promoted the manufacture of refined objets d’art which enjoyed great success among both the Russian and international public. Among his clients were the kings and queens of Europe, the court of Siam, and American industrialists such as John D. Rockfeller. In 1887, a Moscow branch was opened, with one in Odessa in 1900, in Kiev between 1905 and ’10, and in London in 1903. The goldsmiths of the Fabergé house would visit the Hermitage to study and copy antique jewels from the time of Catherine II, applying an antique style to creations suitable to the taste of the late 1800s. The expansion of the business resulted in the opening of independent ateliers which worked exclusively for Fabergé. Afterwards, the best masters would come to the main workshop in St. Petersburg, in a building on the Bol’saja Morskaia. The entry of his children Eugène, Agafon, Alexandre, and Nicolas in the family firm brought new energy to the business. Guilloché enamels applied both to jewellery and objects were favored: boxes, cigarette cases, trays, clocks, frames, icons, and silverware. More than a hundred different colors were used to cover gold with iridescent reflections and enrich the colors of semi-precious stones, Fabergé’s favorites, and of gems and pearls. In 1883 came the first orders from the imperial court for the famous Easter eggs, which would continue until 1916. Small masterpieces of technical ingenuity, they were inspired by important events of Romanov family life under the rule of Czars Alexander III and Nicolas II. There were sixty eggs in all, each in a different shape and of such extraordinary invention as to stir the admiration of the entire world. The jewellery, which continued to be characterized by references to the past and a taste for the East, acquired some Art Nouveau touches around 1910. After the fall of the Romanovs with the Russian Revolution, the house ceased operations, closing for good in 1918.


Italian shoe factory established in 1965 by Elisio and Enrico Fabi. It is renowned for the manufacture of men’s and women’s shoes and focuses on artisanal quality with production that is primarily hand-made and carried out entirely in Italy. The production plant is in Monte San Giusto, near Macerata, and has about 200 employees. A new plant was opened at the end of 2003, again near Macerata. The brand Telck by Fabi (men’s and women’s shoes for a younger market) and the Fuentes brand (men’s classic and casual shoes) have been on sale for four seasons. The company closed 2002 with a total turnover of about €21 million, with Fabi contributing 60%, Telck 30%, and Fuentes 10%. In November 2003, the brand’s seventh shop was opened, in Milan, following a shop in Moscow that was opened in October.


Alberto (1910-1987). Italian tailor and designer, born in Rome. His talent was foretold, as he was the son of tailors from near Tivoli whose work was already famous in the early 1900s. He was educated in the use of scissors at a very young age. After his schooling, he went to Paris and various ateliers in order to learn about fashion. Once back in Italy, he opened his own atelier, first on via Frattina and then on via Condotti. His garments are unmistakable, especially the jackets, which Fabiani’s tailoring skills endowed with great class. He was part of the by now historic group of designers (nine for high fashion and four for prêt-à-porter) who in February 1951 accepted the invitation of Bista Giorgini to present to American buyers Italian clothes that were free of the subjection of French fashion, and presented a collection in the sitting-room of his Florentine villa. Simonetta Colonna di Cesarò, who in 1952 became his wife and participated on that revolutionary day as an independent designer, says in her book La Sala Bianca — Nascita della Moda Italiana (‘The Sala Bianca — The Birth of Italian Fashion’): “I convinced Alberto, I almost forced him. He was reluctant. Thanks to French fashions, he had acquired a rich and numerous clientele. It was understandable that he was doubtful, but my prodding made his fortune. He became the true, great figure of the Italian look. He was an extraordinary artisan, one of the rare designers who knew how to make his own models in cloth.” Fabiani and Simonetta were among the first to leave Florence in favor of their own Roman ateliers. “One day we told each other that Rome was as good as Florence, that we could be in our own house, that everyone had a right to a stage for himself, instead of that group presentation. Individualism is a typical Italian weakness,” remembers Simonetta. Some years later, Fabiani left Rome for Paris. He came back to Italy after 1970, and, as a consultant to several clothing manufacturers, he continued to work until his death. Among his collaborators were Forquet and, for men’s fashion, Elio Costanzi. In 1960, his book Stracci (‘Rags’) was published.


Anna (1962). Italian designer. She learned the profession watching her mother, who was a dressmaker. She designed her first creations for Fiorucci at the age of 25. From there, she was able to open her own shop in Porta Ticinese in Milan, where she presented a ready-to-wear line in which one could see a desire to create clothes with a high tailoring content and to personalize them with special details, sometimes on clients’ requests. Her clients are professionals, creative people, students, and journalists. She accomodates their tastes and their preferences, either in basic refined styles or according to the latest trends.

Fabienne K

French brand of ready-to-wear. During the 1970s it established itself with flexible clothes such as interlock (a very comfortable knitwear which broke away from the rigidity of classic materials) that could be worn all day.


A brand named after a New York designer born in Haiti. He attained success in the 1980s thanks to evening shirts embroidered with glass beads, crystals, and strass in the Haitian style. Fabrice designs his collections in New York, but all the manufacturing takes place in Haiti.