Neapolitan store and brand of ties, clothing and “English goods.” The original shop sign read: “Marinella E. Marinella-Shirtmaker and Outfitter.” Opened by Eugenio Marinella, on 26 June 1914 at 287 Riviera di Chiai, it is still owned by the family. Inherited by Eugenio’s son, Gino, who led the company until the mid-1990s, for a long time the store continued to look like an artisanal workshop of a very exclusive kind, selling English garments and creating ties, shirts, scarves and selling very British textiles. The firm, currently run by Gino’s son, Maurizio, has specialized in ties over the last twenty years (producing roughly 120 a day), both ready-made and made-to-measure and with seven folds. The consistency of the latter model derives from the many layers of fabric, rather than the shape. In 1998, Marinella had a turnover of roughly 4 billion lire, with 25 employees. The history of Marinella began about a month before the outbreak of World War I and is intertwined with elegant Neapolitan society. The journalist and writer Matilde Serao celebrated its inauguration in the daily Neapolitan newspaper, Il Giorno, in her famous column “Mosconi”. The workshop of English goods — which fills 20 square meters on the ground floor of the fifteenth century Palazzo Satriano — was furnished by don Eugenio, following the anglophile tastes of Neapolitan gentlemen. The Villa Reale (now belonging to the council), which stands opposite the store, was still — in the early twentieth century — visited by Neapolitan aristocrats and members of high society. According to Serao’s article, Marinella offered violets to women and Floris English cologne to men. Floris and Penhaligon scents, Look hats, Acquascutum raincoats and Kent luxury textiles were the products imported to Italy for the first time by Eugenio Marinella for a refined clientele, which included the Agnelli family, members of the House of Savoy, and the Neapolitan Royal House of Bourbon. Everything in the store apparently remains unchanged: the stucco on the crossed vault hung with an antique brass lamp, the small table with the cash till and the display cabinet in glass and mahogany. The processes of hand making, the system for importing textiles from the county of Kent and the sale of Marinella products have also all remained unchanged. The head of the company still designs the patterns for the ties and travels to England to choose the textiles: the so-called “square,” a piece of silk measuring one meter by 20 centimeters, sufficient for 4 to 8 ties. From the end of the 1970s, however, the production of made-to-measure shirts was abandoned, in order to focus on ties, whose width, according to the Marinella family, should range from 8.5 to 9.5 centimeters at the widest point. As for the color (to contrast with the suit and shirt) and the fabrics (jacquard for the regimental style, light silk for printed textiles and wool for winter outfits) the main principal was tradition. A fundamental rule was to always choose one’s tie and, above all, never to wear a matching tie and handkerchief.
&Quad;2002, September. Marinella opened a second atelier in Milan. Like the Neapolitan headquarters in Palazzo Satriano, the Milanese store is located in a historic building: an eighteenth-century ex-convent at 5 Via Santa Maria alla Porta. For the first time the firm opened a store separate from the workshop-salon in Naples. In addition to ties, the shop sells perfumes, knitwear, leather goods for men and women, watches, and hand-made sunglasses (in titanium and pure acetate) created by Optical City. In 2002, Marinella’s turnover totaled 8.3 million euros.
&Quad;2002, November. Marinella and Valextra, two historic companies, together produce a line of ties entitled Marinella for Valextra in silk jacquard twill in various colors, both plain and with a figured design.
&Quad;2003, May. The Wall Street Journal prints a long interview with Maurizio Marinella (1955), the latest heir to the dynasty, on its front page under the headline: The Ultimate Necktie.
&Quad;31 March, 2004. The first “Italian Tie Gala” is held with The event celebrated the accessory that symbolizes masculine elegance, and benefited a worthy cause at the same time.
&Quad;2004, April. Marinella took part in the conference organized by the Quality Committee in collaboration with Class Editori-Milano Fashion Global Summit. It provided an occasion to relaunch Naples as the fourth Italian fashion capital, after Milan, Florence, and Rome.
&Quad;2004, May. Maurizio Marinella bought out the Savoy bootmakers, Arturo Ballini’s historic shop on Via Vincenzo Monti in Milan. The Neapolitan company’s aim is to continue to create a niche product in the equestrian sector.


Manifattura Italiana del Brembo, launched in 1969 and known all over the world, sometimes only by its initials. The Italian tanning factory produces skins for fur garments at Pontirolo Nuovo in the province of Bergamo. It is owned by the Carminati family and directed by Roberto Scarpella. Right from the start, the company has combined avant-garde techniques with a respect for the strictest ecological regulations. The factory, which covers an area of 25,000 square meters and employs 230 members of staff, is located in a hundred year-old building. All steps that make it possible to work in harmony with nature have been taken: water and air purification systems and the filtering of all emissions are kept under constant control. Members of staff work in a healthy and pleasant environment. In conjunction with its sister company Htp (High Tech Processings), machines and high-tech procedures using computers have been implemented. At the same time, handcraft skills have been conserved, an invaluable complement to the unending research in the world of fashion, which has given rise to a series of innovations and dramatically affected the preparation of skins. The company has introduced many inventions that often distinguished by specific names; their worth is underlined by the fact that they continue to be used, sometimes under different forms, and either modified or combined. Year after year, the Mib factory has created nap leathers, prints, mixes, the “Thousand lights” coloring, photo-sculpture, eco-compatible dyes that are natural and safe, and the “Top Line,” which subverts tanning traditions; then there is the company’s reversible, non-leather leather, lined with very different materials and worked on the outside in a variety of ways: plucked, dyed, sheared, printed, frosted, shaded, and bleached; and, in addition, the Stone-Dyed effect, which produces an unusual mixture of tones, as on textiles, and the Dual Band effect, which plays on the contrast between background and foreground colors. Mib also works with shaved effects, velvets, cashmere, and even silks (sometimes so fine they measure zero millimeters!), along with natural fading techniques. Other effects are Stone-Printing and “leather impression” techniques, that fulfill the continuous demand for reversible garments. There has also been a return in demand for batik combined with Stone-Dyes, and for curled effects on depilated leather, sometimes combined with shaved and highlighted motifs. And, most importantly, the “new tanning,” which makes reference to the historic Top Line and identifies a certified article according to the UniIcec norms. The furs are accompanied by a label with the wording “low environmental impact fur,” “certified quality fur,” “fur created in Italy.” The company focuses on skill, quality, and environmentalism. Its headquarters are characterized by rational modernity combined with antique elegance. They house the Mib Design Center, which is opened to researchers from across the world.


One of the brands of the group Manifatture Associate Cashmere, founded in 1972, by the entrepreneurial brothers Giacomo and Alfredo Canessa. In the 1970s and 1980s it established a growing presence, particularly in Italy. From 1990 onwards, the company sought to increase its export trade by opening commercial branches in strategic markets (New York, Düsseldorf, Paris, Tokyo). At the same time, the company began to open a series of flagship stores aimed at promoting the brand’s image: currently it has 17 commercial outlets in cities and holiday destinations in Europe and the United States. In 1999, the company, one of the global leaders in cashmere knitwear, was purchased by Itierre, a group from Molise.
&Quad;2002, December. The company, which joined It Holding in 1999, had two factories in Florence and Piacenza and a network of 26 own-brand stores.
&Quad;2003, May. Malo designed a line of sunglasses (two models, for men and women) at Mido. It was produced by Allison, also part of the It Holding group. An essentially classic design, the sunglasses have spherical pivots and inner frames in laminated gold. Each one is numbered and can be personalized with the owner’s initials.
&Quad;2003, June. The stylist Gianni Bugli, who had previously collaborated with Lacroix, Kenzo, and Versace, joined the knitwear group.
&Quad;2005. From Fall-Winter 2005/2006, Fabio Pinas, after five years experience with Brioni, became the company’s new creative director.


Isabelle (1967). French designer, following a family tradition in the sector. Her mother, Christa Fiedler, is a fashion designer. She began by collaborating with Michel Klein and Yorke and Cole. She was an assistant to Marc Ascoli in his work for Yohji Yamamoto and Martine Sitbon. Her first collection, in 1989, comprised jewelry and accessories. In 1990 she launched the Twen knitwear line and in 1995 she presented a catwalk show under her own name. In 1997 she received the Howard Prize for the best creator of the year. In 1998 she opened her first boutique in Paris and designed a collection for the department stores Monoprix and Prisunic.
&Quad;2003, January. The executive committee of the Fédération de la Couture nominated two new members of the association: Isabelle Marant and Agnès B joined Christian Dior, Chanel and Sonia Rykiel in the pantheon of French fashion.
&Quad;Hooded parkas, Rumanian shirts: the new Marant collection was entitled Ligne Étoile. It was Isabelle’s second prêt-à-porter collection, and was more accessible, pushing the boundaries of city and casual wear.


A monthly German fashion magazine published in Munich by Magazinpresse Verlag. It was founded in 1952 out of the merger between the two magazines Figaro (1950-52) and Die Elegante Welt. With features on couture and ready-to-wear fashions, as well as interior design, lifestyle, travel, art and culture, it maintains a steady distribution. Figures from the first half of 2003 show that the magazine sold about 96,000 copies of which over 20,000 are subscribers.


Gertrude. Known as Gussy, or even Gorgeous Gussy. A few centimeters of lace appliquéd to her knickers at Wimbledon in 1949 caused a stir among photographers and tabloid editors, the expulsion of their creator, Ted Tinling, by the tournament’s master of ceremonies, and even prompted a question in Parliament.


Jean (1928-1995). English designer. She was known for her fluid and feminine silhouettes, and a preference for jersey and suede which took traditional workmanship to the next level. Born in London, she rose through the ranks and learned her trade on the job. She was taken on by Liberty in 1950 as a warehouse assistant, promoted to store cashier, and finally to designer. She was then taken on by Jaeger, where she remained from 1956 to 1961, the year in which she set up her own label, Jane & Jane. She founded her business in 1966, by which time her pure, classic style had already been established. Her clothes were known for their carefully worked detail, and striking, almost always uniform color. Her sense of elegance combined with a guaranteed comfort ensured that her collections appealed to the most refined ladies. In 1980 Leeds City Art Gallery published the monograph Jean Muir.


Walter (1922). Tailor for Catagneto Carducci, specializing in hunting wear, heavy casentino wool coats, and gentlemen’s countrywear. He hails from a dynasty which included Gioacchino Morganti (known as “Ventunpelo”) and his uncle Antonio, and which is rooted in the tradition of the tailors of Maremma so praised by the young Giosuè Carducci: Domenico Raffaelli, Giosuè Mati, Ferdinando Ambrogi, Francesco Borsi, and Pietro Fazzini. In 1911 Antonio opened a workshop that doubled as a tailor’s and barber’s shop, calling it “Arte e Moda. Fratelli Morganti.” The barber’s shop did not survive, but Walter measured, cut and sewed in the same shop which saw the passing through of the Italian elite, such as Della Gherardesca, Antinori, Incisa, and some of the great names in entertainment, including Marcello Mastroianni. In 1996 Walter, while remaining involved in the tailoring business, handed over management of the firm to Czech Florin Cristea.


Vivien (1963). French footwear designer. He began to work at Tony Carel’s when he was only 20 and remained there for two years, collaborating with designers such as Martine Sitbon and Thierry Mugler. In 1990, he signed a contract with the footwear brand Michel Perry, which continued for five years. Afterwards he collaborated with Casadei, Sergio Rossi, Charles Jourdan, Givenchy, Lanvin, and Dior. In 1999 he launched his first collection.


Event for prêt-à-porter, knitwear, “private label” professionals, and ready-to-deliver flash fashion specialists. It is a “business-to-business” occasion, revolving around the most innovative methods: rearranging seasons, creating specific samples and, above all, product-service packages, which is one of Modaprima-Esma’s main objectives. The salon is divided into four sections, corresponding to the different specializations: Private Label, Fashion Prepared for the GDO, Ready-to-Wear, and Production Districts. Visitors arrive from 50 countries as well as retail buyers, wholesale dealers, importers and specialists in organizing sales by correspondence. A typical feature of the event is the competitive pricing of standard quality Italian products.