Anthony (1964). English designer born in London. Before finishing his studies at Central St Martin’s School, he was already working with John Galliano and won the designer of the year award at Graduate Fashion Week. After graduating in 1994, he worked for Krizia, Moschino, English Eccentrics, and Vivienne Westwood, until he decided to create a women’s line bearing his own name in 1998. He begins each collection by studying the fabrics; and though the designs may seem relatively simple, their construction is complex and technologically advanced.

Schella Kan

Austrian brand of ready-to-wear fashion. It was founded in Vienna in 1984 by two schoolfriends, Anita Aigner and Arnauld Hans. They took part in a collective fashion show in Paris and their clothes are sold in Belgium, Germany, France, and Austria.


Franco (1929-1987). Italian journalist and editor. Son of a Corriere della Sera manager, he too worked for the newspaper company and, having been marketing manager, was given the task of researching a weekly women’s magazine with an innovative feel. This saw the birth of Amica an avantgarde monthly magazine with Enrico Gramigna as editor and Flavio Lucchini as artistic director. In 1964 Sartori moved to Condé Nast Italia where, having taken over Novità, he founded Vogue Italia and remained its editor for the rest of his life. He also became managing director of Condé Nast Italia and helped expand with Casa Vogue, Uomo Vogue (begun in 1967 as a supplement of Vogue Italia), Vogue Sposa, Vogue Bambino, and Vogue Gioiello. He was a man of elegant looks; austere and inseparable from his Tuscan cigars, he inspired a certain awe and was blessed with an excellent eye for choosing journalists and collaborators for his magazines. Many of the best journalists specialized in fashion, beauty, and home decoration were trained at Condé Nast. Under his direction, the publishing house placed new emphasis on fashion images, photography, and graphics, creating a sophisticated and refined means of expression that would influence other publications in the field in the years to come. Others learnt from the Condé Nast look, with Vogue Italia and Uomo Vogue considered the bibles of luxury and the latest styles, something that was continually asserted by the talent of Italian designers. At the height of his success, and while still young, Sartori died in New York after a heart transplant. His associate manager was Attilio Fontanesi who contributed to the extraordinary advertising and financial success of the magazines, thinking up innovative advertising strategies, such as the famous groupage.

Stretch Yarn

A term used to describe all elasticated fabrics. After appearing in the Paris collections in the 1960s, stretch fabric played an important role in the production of underwear and swimming costumes in the 1970s. The first fashion designer to use it and extol its virtues was the Tunisian Alaïa, who is famous for his sinuous lines and tight-fitting minidresses.


Vidal (1928). English hairdresser. His style of cutting and his mainly geometric hairstyles was, during the 1950s and 1960s, one of the springboards of the aesthetic revolution which accompanied the liberalization and change in fashion in the era of Swinging London, the Beatles and flower power. He opened salons and shops in Europe, Canada, the United States, and Singapore (a total of 10 in the mid-1990s) and created hair products. Passionate about his job, he founded a school of hairdressing in 1969 and an academy in 1973.


Adolfo (1933). American designer. Having escaped family pressure to become a lawyer, he was saved by following his aunt, Maria Lopez, from Cuba, where she comes from, to Paris. She presented him to the Maison Balenciaga where Adolfo got to know the world of fashion and tailoring. In 1948, he decided to leave Paris for New York, where he learnt the millinery trade. In 1962 he opened his first shop, accompanying his hats with a line of clothing. The garments were ready-to-wear, but could be adapted to fit and because of the quality of the cut and sewing were close to being haute couture. First Lady Nancy Reagan provided him with a spontaneous endorsement.
&Quad;2002, April. He took part in the Latin American fashion show organized at the Fashion Institute of Technology in New York.


Italian ready-to-wear company founded by Walter Burani in 1960 in Reggio Emilia to produce and distribute outdoor clothes for little girls. Having achieved 1,000 sales points, the company launched a line for older girls, while investments allowed them to modernize and expand their production plants. In the mid-1970s the business expanded to include women’s clothes. In 1988, it set up the company Mariella Burani, which has its own set of stores and works with licensing agencies. In 1996 Selene USA was created. The Italian company currently has more than 40 own brand stores and franchised shops around the world, all designed by Antonio Citterio. 1998 closed with direct sales (excluding licenses) of 180 billion lire, an increase of 29% on the previous year. Exports accounted for 55% of the sales. Sub-licenses were granted through the Mariella Burani Fashion Group to 18 firms making knitwear, ties, cosmetics, leather goods, eyewear, and accessories. Selene has five of its own brands and produces the Carisma and Carisma Rouge lines for Valentino, under a licensing agreement that dates back to 1993. Since 1996, Selene is the exclusive distributor of Gai Mattiolo ready-to-wear and the Shockingai by Mattiolo line. In March 1999, it signed an agreement to produce the Calvin Klein Donna line starting in Spring-Summer 2000. The following November, the company bought 100% of Mila Schön Investment.


Julie (1960). Scandinavian designer who lives and works in Paris. She produced her first collection in 1991. At first she openly declared her attachment to her Scandinavian roots and cultural heritage, with a line that evoked northern forests, snow-covered landscapes, fairies, witches, and tales from the North. In the years that followed, her sources of inspiration have been more varied, as a result of her extensive travels throughout the world: geishas and oriental empresses in Summer 1995 gave way, in Fall-Winter of the same year, to the shiny waterproofs worn in the foggy ports of northern France. 1996 marked her encounter with Native Americans; then came the lights and colors of the desert inspired by a trip to Morocco and the Egyptian pyramids. Next she returned to Norway and launched a new material, Twool, in Paris. Her next collection was a homage to St Moritz and winter sports. A “rising” brand, her designs are now sold in small, elitist Paris shops such as Absinthe in Rue Rousseau, near Les Halles.
&Quad;1996. Le Musée de la Mode in Paris welcomed her as part of the Japonisme et Mode exhibition.
&Quad;1998, March. Some of her creations officially entered the permanent collection of the Musée de la Mode et du Textile in Paris.
&Quad;1999, April. She exhibited in Cologne at New Scandinavia: aktualles design aus dem Norden.
January. She showed in Jouer la lumière near the Musée de la Mode et du Textile in the Louvre.


Victor (1907-1976). South African designer. He worked in London and at the age of 17 moved to Durban. A forerunner of the casual but well-cut look, he opened his own fashion house in 1932. English Vogue immediately noticed his Greek-inspired evening dresses in pastel colors. Despite the regime of austerity, the postwar period was his most creative moment, featuring his intuitive nude-look and suits with clean lines. In 1955, at the peak of his success, he signed a rather bizarre agreement with three other very famous English designers, a sort of gentleman’s agreement in which each would take part in the others’ fashion shows, with the aim of launching English fashion in the rest of the world. His fashion house no longer exists.

Sanjust di Teulada

Piero (1923-1966). One of the last great Italian dandies. Manager of Dalmine, managing director and chairman of Siderexport, and then Insurance Brokers Marsh and McLean Italian, he loved a little touch of disorder in the way people dressed, a sign of supreme snobbery. It was better if the suit had some small defect and so he always refused to have the third fitting with the tailor. He liked striped shirts in strong colors and used to buy fabric in Genoa from Crovetto. He had 200 pairs of shoes and loved those that were over 30 years old. He had them made to measure at Gatto’s. He never wore a pullover under his jacket which he always wore open. Hats (he never left the house without one) he would crush on purpose. He often carried gloves, but rarely wore them, preferring to hold them in his hand. He never failed to wear a tie which he thought of as a state of mind. He liked the buttonhole on the lapel of his dinner jacket to be trimmed in red.He was the one who started the fashion for wearing watches on the cuff, not as an affectation but out of necessity. He described the following to Luigi Settembrini and Chiara Boni in the book published by Mondadori Vestiti, usciamo [Get Dressed, We’re Going Out]: “We were boys in Rome and Gianni [Agnelli] was a friend of ours and we saw him often. A number of us were short of money, including me, and I therefore could not afford to own more than four or five shirts. In order not to ruin the edge of the cuff by having it rub against the metal strap of my watch, I always wore my watch over my left cuff. Gianni liked it and copied me. Although there was no question of him not having enough shirts.”He had a nose for good tailors, even those that were still waiting to be discovered. He was the one who offered surety for Domenico Bombino’s tailor’s shop; he had met Bombino at the Bar Giamaica in Milan, the legendary café in Via Brera. He told the person interviewing him that he knew Bombino was talented as he had sewn a counter-buttonhole for a flower under his lapel. In addition to Bombino, his tailor was Donini-Augusto Caraceni. When dressing Sanjust, the tailor started with the shirt which laid out on the bed to be able to build around it the outfit for the day. In the same text, he also said: “To dig back into the origins of my relationship with style, it is perhaps necessary to know that I was born as the sixth boy into a family of nine children and for years wore the clothes handed down from my older brothers…. I remember the first time that I wore a new suit was when I went to the Naval Academy and from that moment on a lust was unleashed.”