Rede

Italian socks and stocking manufacturer that was founded in 1938 at Parabiago by Mario Re Depaolini. The company produces high-quality men’s, women’s, and children’s socks. Beginning in 1964, it has been run by the founder’s wife, Carla. Aside from the factory in Parabiago, it also possesses the throwing mill for synthetic fibers in Garabiolo and a packaging company. It produces 50,000 pairs of women’s socks a day, and every year, one million pairs of cotton and Lycra panty hose.

Ruffinelli

Carla (1922-1998). Painter, illustrator, and fashion journalist. She was born in Turin. She studied at the Accademia Albertina, where she was a pupil of Felice Casorati. During the war, she worked on the creation of the first Italian animated cartoon feature, Il ladro di Baghdad (The Thief of Baghdad). She illustrated, for the San Paolo publishing house, many books for children and young people, including fairy tales by Andersen, Perrault, and the brothers Grimm. For nearly thirty years, in the magazine family Cristiana, she drew a page of fashion tips entitled, Mi vesto così (‘This Is How I Dress’).

Renoma

Apparel label introduced in Paris in 1959 by the brothers Michel and Maurice Renoma, who were continuing the family’s tailoring business into the branch of ready-to-wear fashion. The hipster style became an international phenomenon in part due to their work. In 1963 they founded the Renoma Star company and opened a Parisian boutique in the Rue de la Pompe. In 1992 and 1996 they created the griffes U.P. and 400a.
&Quad;2003, June. SADEV, the French corporation that produces and distributes Renoma, signs a licensing agreement with the French designer Christian Lacroix.

Romanò

Marcella (1967). Italian designer. Born in Como, she has always lived in the world of fashion: her father runs a company in the Como region called Nephila, which “converts” fabrics to adapt them to the requirements of buyers. It was here that she served her apprenticeship as a creative and an entrepreneur. She was curious and sensitive to new trends, and she completed her studies with a degree from the Accademia di Brera. Then she began with a small collection of accessories, and finally took the leap into the world of prêt-à-porter, in 1998, with a complete womenswear line. Her collections are limited to a few items, in a unique mix of fabrics, embroideries, and prints, invariably original and personally conceived by her. For the summer of 2002, she designed an eclectic and colorful wardrobe, made up of white T-“shirts with appliqués of shells, flowers, butterflies, sheath dresses in striped cotton or in silk, patchwork jeans, embroidered, with the denim mixed with other fabrics.

Rossetti

Elsa (1915). Journalist, organizer of events and fashion runway presentations in Italy and around the world. Editor of the fashion department of Stampa Sera from 1960 till 1989 and of the Radiocorriere from 1965 till 1971, she coordinated for 21 years (beginning in 1955) and presented the runway presentations of SAMIA in Turin doing, for the same body — and for the first time — runway presentations to promoted Italian fashion in Dusseldorf, London, Belgrade and, for the Italian Trade Commission, in Tripoli (until the advent of Gheddafi), in San Salvador, Copenaghen, Dublin, and Reykjavik. She played this role, at the behest of Fiat, throughout the 1970s, with a focus on the winning combination of fashion and automobiles, in Saloniki, Athens, Rhodes, Voloz, Buenos Aires, and Stockholm: travel that was adventurous at the time, and for which she chose the best known top models. Later, she organized the Raincoat Week in Florence (at the behest of Beppe Modenese) and, in the 1970s and 1980s, for the Associazione Serica Comofoulard, the runway presentations and spectacle at the Auditorium of Bonn, at the Royal Albert Hall in London, and in Dusseldorf while, for the Associazioni Industriali of Padua and Milan, she took to Moscow, in 1984, the first Italian runway presentation of prêt-à-porter, high fashion, and footwear.”

Ruohonen

Anna (1967). Finnish menswear designer. She took a degree at the University of the Applied Arts in Helsinki and went on to take a master’s in design at the French Insititute of Fashion in Paris. She has worked for Margiela, José Levy, and Olivier Desorges. In 1997, in Naples, she was a finalist in the Master of Linen competition for young designers, and in that context she presented her first collection, with the Leningrad Cowboys. Her creations are in the display windows of Absinthe in Paris, and Beam’s and Paranoid in Tokyo.

Robiola

Elsa (1907-1988). Milanese journalist. She was a crucial figure in the history of fashion journalism. Together with Gio Ponti, the great Italian architect who edited Domus, she founded in 1941 the magazine Bellezza and edited it for more than two decades, managing to keep it going even during the harshest years of the Second World War, and in the 1950s, holding its head up in the face of competition from Vogue and Harper’s Bazaar. In the postwar years, the monthly was published by Aldo Palazzi, who also published the weekly Tempo, where the journalist was special correspondent for fashion, and Marie Claire. Bellezza had taught Italian women in wartime to dress with leftovers and had urged dressmakers to inventive, and not to be content to offer the models, more or less disguised, but still copied wholesale from the French griffes. This past tradition ensured that the magazine and its editor would line up entirely on the side of Giovanni Battista Giorgini in his attempt to present to American buyers an original and autonomous “Made in Italy” in the world of fashion. When, on 12 February 1951, the first Italian fashion shows were held in Giorgini’s drawing room in Florence, Elsa Robiola was among the very few Italian journalists present, along with Elisa Massai, correspondent Women’s Wear Daily, Gemma Vitti of the Corriere Lombardo, Vera Rossi of Novità, Misia Armani of the periodical I Tessili Nuovi, and Sandra Bartolomei Corsi of the Secolo XIX.

Rocha

John (1953). Irish fashion designer of Chinese and Portuguese descent. He left his native Hong Kong to study fashion in London. He took his degree in 1977 and, the following year, presented with his first womenswear collection. Having fallen in love with Irish textile traditions, he moved to Dublin in 1979 and opened his firsts store in 1985. Between 1987 and 1989, he stayed in Milan to monitor the production of his line. The 1990s saw a rapid rise in his reputation. In 1993, he launched the menswear line and won the first of many awards: British Designer of the Year. In 1995, he inaugurated showrooms in Paris and Dublin and signed an agreement with the Waterford Wedgwood Group to design furnishing accessories. In 1996, John Rocha Jeans was founded. In 1997, he made an agreement with Itochu Fashion Systems, Japan, for Asian distribution. In 1998 he opened his London shop in Sloane Square. His style lies somewhere between the Asian and the celtic. He designed the uniforms of Virgin Atlantic Airlines. He has designed costumes for the movies. He owns the hotel, The Mirrison, in Dublin, which he furnished entirely.
&Quad;2002, October. Conran-Octopus published Texture, Form, Purity, Details in which Rocha tells his story and illustrates his philosophy which has always tied him to the world of the image, The book is highly illustrated, with photographs and drawings.

Rhodes

Zandra (1940). British fashion designer. If we are talking about the overturning of old approaches, the revolution in lifestyle and fashion that came from the London of the Beatles, the Swinging London, then we should include Zandra Rhodes in terms of her talent and skill, including her technical skill in the use of materials. She was known for her remarkable worked fabrics, for the use of exotic fabrics and Art Deco zigzag patterns. She studied at Medway College of Art and later at the London Royal College of Art where she graduated in 1966. Together with Sylvia Ayton, she founded Rhodes Ayton, and opened a boutique in the Fulham Road in 1967. Her first collection was presented in 1969. Since then, her creations have stood out for the originality of cut and line: chiffon and light silk evening gowns, hand-decorated, but also felt capes with fretwork hems and embroidered satin tunics.
&Quad;2003, May. She donated three thousand of her models to the new Fashion Textile Museum of London. The collection can only be seen by appointment or through the digital archive in the museum’s library.