T h e S e m e s t e r l y M a g a z i n e o f F l o r e n c e U n i v e r s i t y o f t h e A r t s

A RT S | FA S H I O N & S T Y L E | L I T E R AT U R E | C O M M U N I T Y | E N V I R O N M E N T | F O O D | VO I C E S & P L AC E S | A LU M N I

SPRING-SUMMER

2 015

YEAR 5 - ISSUE 2

volumeSpace Shape Sound

APICIUS CONFERENCETeaching Traditions

PECCIOLIStories from

a Tuscan landfill

ROBERTO CAPUCCIVolumes, renewed

YOJIRO KAKEItalian quality,

Japanese philosophy

ARCHITECTUREHistory and modernityin Florentine spaces

MUSICCity sounds

The key to proving that there’s a black hole is showing that there’s a tremendous amount of mass in a very small volume.

And you can do that with the motions of stars.ANDREA M. GHEZ

When you start with a portrait and search for a pure form,

a clear volume, through successive eliminations,you arrive inevitably at the egg.

PABLO PICASSO

I can often tell when drawings are done from photographs, because you can tell what they

miss out, what the camera misses out:usually weight and volume - there’s a flatness to them.

DAVID HOCKNEY

The key to proving that there’s a black hole is showing that there’s a tremendous amount of mass in a very small volume.

And you can do that with the motions of stars. ANDREA M. GHEZ

One good anecdote is worth a volume of biography.WILLIAM ELLERY CHANNING

Volume depends precisely on the writer’s having been able to sit in a room every day, year after year, alone.

SUSAN SONTAG

A large volume of adventures may be grasped within this little span of life, by him who interests his heart in everything.

RAY STANNARD BAKER

When you’re twenty years old and you’re making points with volume and dynamism, it’s a fantastic thing to do.

ROBERT PLANT

What is new is the multiplying reach and volume of the Internet, concentrating the toxicity of destructive emotions and circulating

them in the political bloodstream with unparalleled velocity.TINA BROWN

There may be something good in silence. It’s a brand new thing.You can hear the funniest little discussions,

if you keep turning the volume down.WES BORLAND

I only come up with things when I am talking to myself, which I do constantly. The sidewalk and the subway are the best places for this.I speak at full volume and then laugh at myself if I like what I just said.

KATE MCKINNON

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Blending Magazine is a semesterly publication produced by the students and faculty members of Florence University of the Arts, the academic member of Palazzi Florence Association for International Education.

Semestrale / Semesterly MagazineReg. Trib. di Firenze n° 5844 del 29 luglio 2011Anno 5 – Numero 2 – Primavera-Estate 2015 Year 5 – Issue 2 – Spring-Summer 2015

Direttore Responsabile / Editor-in-chiefMatteo Brogi

Caporedattore / Editorial DirectorGrace Joh

Coordinamento editoriale / Managing EditorFederico Cagnucci

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In redazione / Masthead

Redazione / Copy Editors Lauren Fromin, Ashlyn Thompson

Progetto grafi co e impaginazione Graphic design and layoutFederico Cagnucci

Team di studenti / Student Magazine Teamsled by Federico Cagnucci: Natasha Banks, Tameka Darnell, Angelina D’Souza, Kathleen Grey, Margherita Innocenti, Breeauna Moran, Ramzi Malhouf.

Fotografi / PhotographersEmma Adams, Julia Arlaza, Ellie Baer, Emily Berger, Aydin Berna, Alessia Bonanno, Federico Cagnucci, Veronica Clark, Christina Marie Garcia, John Grella, Margherita Innocenti, Samantha Kugler, Megan Loiacono, Anna Lynch, Ramzi Maalouf, Drew Mancini, Silvia Mancini, Olga Makarova, Alessia Pesaresi, Emily Purcell, Carly Simeone, Spencer Sisselman, Nikki Visciglia, Michael Walden, Vanessa Weego, David Weiss.

Illustratori / IllustratorsChristina Marie Garcia, Rinell Ponceleon James

Foto di copertina / Cover Photo ByVanessa Weego

Foto retro copertina / Back Cover Photo ByCarly Simeone

Pubblicità seconda e terza di copertina /Inside Front and Back Cover Advertisement PagesConcept and Design by Paola Carretero Photographs by Thakorn Jantrachot

Ringraziamenti / Special Thanks ToNicoletta Salomon, Simone Ballerini, Paride Moretti,Dario Orlandi, Simone Pierotti, Jacopo Santini

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Editore / PublisherFlorence Campus per INGORDA EditoreVia Alfonso La Marmora, 39 - 50121 Firenze

Sede editoriale / Editorial HeadquartersCorso Tintori 21 - 50121 FirenzeTel. 055-0332745

Stampa / PrinterGrafi che Gelli s.r.l., via G. Leopardi, 11 - Calenzano (FI)

Il numero è stato chiuso in redazionenel mese di maggio 2015 This issue was completed in May 2015

Copyright © 2015 by Florence Campus, FirenzeAll rights reserved.

ISSN 2284-063X

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table of

content

s

Letter from the Editor 5

Arts

Statu(e)s Symbol 6

Florentine Spaces 10

Unusual Florentine Architectures 12

Turning Up the Music Volumes 15

fashion & style

Roberto Capucci 16

Yojiro Kake 20

Volumosophy: Eva di Franco 24

Pump Up the Curves 30

#lfw 33

Denim Never Dies 34

Lapo via dei Fossi 36

literature

Literary Corner 38

Book Bound 42

community

Do You Remember Those Days? 43

Volumes of Solidarity 45

Charbel Kamel 46

Soccer Cubed 48

environment

Trash in Tuscany 50

food

Firenze Is my Gelato 52

Apicius Conference 54

voices&places

A Teeming Emptiness 56

Sounds of the Square 57

A Tree in the Forest 58

10 Things That Never Get Old 59

Travelling Gratitude 63

alumni

Renaissance Swag 64

spring-summer 2015T h e S e m e s t e r l y M a g a z i n e o f F l o r e n c e U n i v e r s i t y o f t h e A r t s

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Letter from the Editor

There are certain spring seasons that seem to never arrive, mired in

the boggy grasp of a wintery Hades. Some springs take place quietly,

in an unassuming manner, others are simply late bloomers as in the

case of this year. However, at the FUA main campus, no matter with what

pomp and circumstance (or lack of) springtime arrives, there is always

a precise moment of fully realizing the season’s presence in Florence.

Gasps, double-takes, pointed fi ngers, and elated smiles always

accompany this moment. Exclamations of FUA staff members dot the

air, i glicini sono fi oriti! Smart phones snap away and transport color

and perfume via email, texts, or social media from Florence to faraway

corners of the world. Yes, we are talking about the Tintori campus’ climbing

wisteria whose delicate lavender color spills onto the garden each year

without fail and seemingly overnight. The plant’s presence is multifold

– temporal, sensorial, spatial. Its beauty speaks volumes, it turns the

pages of our calendar year to warmer chapters, and its physical volume

simultaneously fi lls and expands the space and air around us. Volume as

space, shape, and sound. And not only. The 2015 Spring/Summer issue of

Blending Magazine takes its cue from the many meanings of volume, literal

and non, applied to fashion, visual arts, society, community, literature,

and lifestyle. We examined the textile volumes of diverse designers such as

the iconic Roberto Capucci and a contemporary emerging designer from

Japan. We spoke to a young Lebanese director about volume as the quantity

of noise and reactions generated by his culturally provocative work.

FUA students reproduced architectural volumes found throughout the

city. As a special collaboration with UNIFI, the graduate students of the

local Italian university explored the idea of curves in beauty by interviewing

a current model and a former Miss World, inspected the volume-shakers

and history-makers of Florentine history, and presented a case study on

the volume of waste at a Tuscan landfi ll. As springtime expands into

summer, we hope that the seeds planted by this issue’s contributions take

root in the inspirations of our readers and bloom into fertile ideas.

GRACE JOH & FEDERICO CAGNUCCI

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Each city bears its own symbol, for some it can be quite grandiose and particularly for the symbols considered in this article, it is their sheer volume that has made history: Florence, Rio de Janei-

ro, and New York...The word volume can be associated with art in various ways.

In Florence, the image of the David is omnipresent in every bar, restaurant, and store. Thus in the same way Christ the Redeemer of Rio and the Statue of Liberty were erected to symbolize a religion and the idea of liberty, the David has been a symbol of the city of Florence since its inauguration in 1504; today it has been chosen as the icon of the 2015 Milan EXPO for the Italian pavilion. What was happening at the time these works were created marked history, whether it was Florence with the David in honor of supporters of the Republic, or Brazil with Christ to affi rm the creed of the country. In each case, the choice has been to represent the thoughts of the people, not with small works of art, but rather with works of great volume.

The David, 5.17 meters in height with his 4.1 tons in weight is considered one of Michelangelo Buonarroti’s masterpieces, the per-fect prototype of absolute beauty. Only he was able to sculpt “the giant,” a white block of marble that had been delivered to him from Carrara. The sculpted body seems as though it is about to move. The young pastor’s tension is represented by an intense expression in his eyes, muscles that appear to be contracting, and prominently

SELENE CECCHIMJRIAM MOSCATOLINDA ROVELLIROSELI DE FREITAS

STATU(E)S SYMBOL

Volume is to art as art is to history: grand statues that have become symbols of grand cities, from the David in Florence to Christ the Redeemer in Rio de Janeiro and the Statue of Liberty in NYC.

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visible veins. The artist captured the biblical hero in the moments before facing Goliath. In spite of his perfection, a few parts of his body seem disproportionate, for example his hands, his head, and his “attributes.” Scholars affi rm that Michelangelo’s inten-tion had been to see the David placed in an elevated location, drawing attention to the moment of action and to his state of men-tal and physical concentration. The only real defect of the statue is its lack of one mus-cle on the right posterior side, between the spine and the shoulder blade. Michelangelo was unable to reproduce it on account of an anomaly in the block of marble. Replicas are found everywhere in Italy and abroad be-cause the ideal of perfect beauty is diffused among the cultures of all populations. One of the many replicas is in the gardens of Ri-cardo Brennand cultural institute in Recife, Brazil.

In Rio de Janeiro, on the hill of Corcovado in all his grandeur, the enormous statue of Christ the Redeemer embraces the city below him. 38 meters tall and weighing approxi-mately 1000 tons, this statue was named one of the seven wonders of the world in 2007. The entire country recognized the im-portance of this work and contributed to its creation by organizing a nation-wide collec-tion of funds. A competition took place for the construction, which was won by Brazil-ian engineer Heitor Silva Costa, while the production itself was carried out by artists Carlos Osvald e Heitor Levy, head engineer of the project. The statue was inaugurated on October 12th, 1931. Costa understood the importance of his work and said, “How is it possible... to arrive at the port of New York without seeing the Statue of Liberty? Soon it will not be possible to speak of Rio de Janei-ro without mentioning the name of Christ the Redeemer.”

New York is another city with a surpris-ingly voluminous community and where the colossal “lady liberty” was constructed, after much economic sacrifi ce by the French and Americans. The Statue of Liberty is a su-perb female fi gure wearing a long toga and holding a book in her left hand dated July

the choice has been to represent the thoughts

of the people, not with small works of art,

but rather with works of great volume.

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Did you know that...

STATUE OF LIBERTYTo reach the crown it takes 354 steps plus an addi-tional 192 to arrive at the top of the fl ame, which measures 3.5 meters. The fl ame was replaced in 1984 with a new, 24k gold fi nish. The original is preserved in the stat-ue’s museum. The full name of the statue is “Liberty Enlighten-ing the World.” The seven points of the crown rep-resents the seven seas and continents as a symbol of the universal concept of Liberty. Whether Bartholdi’s mother or second wife was the inspiration for the statue’s face is open to debate. In 1982 it was revealed that the statue’s head was mounted 60.96cm off-center. The stat-ue’s shoe size is 879!

CHRIST THE REDEEMERFor maintenance, statue workers move like acro-bats amongst scaffolding mounted at an altitude of over 700m. In the original plans, Christ was holding a globe in his right hand. Lee Thompson, founder of a British adventure trav-el company, managed to obtain permission from the Brazilian travel tourist board during the 2014 World Cup season to climb up the statue from the inner scaffolding and take one of the world’s most amazing selfi es to date. For Women’s Day 2015, Christ was illuminated by multiple rose-tinted lights in honor of women’s rights. A plaque at the statue’s feet was donated by the Italian community in 1974 to commemorate the 100th anniversary of Guglielmo Marconi’s birth. Marconi pioneered the remote lighting via radio of the statue’s original lighting.

DAVIDThe great historian Giorgio Vasari extolled the statue’s unrivaled beauty, specifi cally referencing its beautiful legs, divine hips, and unparalleled grace. However, according to researchers of the Università degli Studi di Firenze, a muscle is miss-ing from the right side of David’s back, between the spine and scapula. Modern-day reproductions tend to exploit David’s harmonious physical attributes. Michelangelo was said to have studied the pre-battle physical tension of the Biblical David prior to battling Goliath. David, along with Florence’s other great monu-ments, is often cited as a trigger of the Stendhal syndrome, a psychosomatic disorder caused by overexposure to immense beauty.

HOW TO VISIT THE DAVID IN FLORENCE AT THE GALLERIA DELL’ACCADEMIA

www.polomuseale.fi renze.it/musei

Tuesday to Sunday 8:15am-6:50pmClosed: Every Monday, New Year’s Day, May 1st, Christmas Day

Regular Ticket: e 8.00Reduced Ticket: e 4.00Ticket offi ce closes at 6:20pmMuseum closing procedures begin at 6:40pmVisit the site to purchase tickets online.

Reservations

Firenze Musei, Tel. 055 294883Reservation fee: e 4.00

4th, 1776 inscribed in Roman numerals to declare liberty, while in her right hand she holds a torch to symbolize the eternal fi re of liberty. The idea for the statue was conceived by Edouard René de Laboulaye and later pro-duced by Frédéric Auguste Bartholdi with engineering assistance by Gustave Eiffel. It was inaugurated in 1886. Her “skin” is an ar-mor of 125 tons of steel covered by 31 tons of copper, and measures 93 meters in total height. Her waist measures 10.6 meters, her nose measures 1.4 meters and her index fi n-ger is 2.44 meters long. The statue is visible from a distance of 40km and for this rea-son it holds a symbolic importance for the immigrants who came to her with so many hopes and dreams during the 19th century.

Florence is said to hold the source of in-spiration for Bartholdi. In the church of San-ta Croce stands the Liberty of Poetry (Libertà della Poesia, 1870-1883), a splendid marble sculpture by Pio Fedi as part of the funeral monument dedicated to the poet Giovanni Battista Niccolini. The resemblance is such that the artist may have taken note from Fedi’s own sketches, as they had both fre-

quented the same places of the masonry. The inauguration, only three years before the American one, would have been further proof of that inspiration.

The visual impact resulting from the volume of these works is ingrained in every-one’s mind. This has been revealed by a ques-tionnaire conducted in a famous Florentine restaurant, visited by many international clients who were asked which was the most representative work of Florence: Michelange-lo’s David, Brunelleschi’s Dome, or the Ponte Vecchio. Upon showing them photos, 63% of them selected the David! Lesser results were present for the Dome, 16%, and Ponte Vecchio with 11%. Only a small portion of those questioned, 10%, preferred alternative responses, such as Florentine Steak (bistec-ca alla fi orentina), or literary fi gures such as Dante Alighieri. Judging from the results of the survey, we can deduce that the David is not only a symbol, but in fact THE most rep-resentative symbol of Florence. Fortunately, souvenirs, photos, and other gadgets allow us to always carry a piece of these giants with us.

Ph. by KALAMU YA SALAAM

ARTS

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SAN MINIATO AL MONTE CEMETERY

The San Miniato al Monte church has sits upon a hill overlooking the city of Flor-ence. With a design similar to that of the Basilica of Santa Maria Novella, it stands tall with the sunlight refl ecting off of it. San Miniato al Monte, however, has a se-cret detail. Blocked from the public eye by a wall of ashes, sits a cemetery unlike any other. There are stones laid on the ground like tile, statues reaching towards the heavens, busts of the dead, weathered headstones, and crosses all marking the ashes of people long gone. Each one is different and unique, and carved angels look down at the buried, stained streaks running down stone faces, or upwards to the sky, as if with a fl ap of their elegant wings they could disappear at any moment.

Sarah Kauzmann

A FAMILIAR SIGHT

I created this painting from a photo I shot of a Lutheran church on the Oltrarno side of Florence. I pass by this structure every day on my way to class, and even amongst the hustle of everyday life in Florence, one quick glance at the beautiful rose window reminds me of the true beauty of the church. Superfi cially, it looks worn and run-down, but keep looking and you’ll see the beauty underneath the vines. In these familiar sights, home is found.

Logan Scandling

florentine spaces

SANTA MARIA NOVELLA RAILWAY STATION

Every day, thousands of people are pushed through the Santa Maria Novella train station, whether to leave Florence for another destination or arrive, wide-eyed, for the fi rst time. There is a certain wonder to the modern building* amidst a Renaissance city layout. For those who walk through the doors of the station every day, on their way to work perhaps, it is just another building in their world, nothing special. But for the people arriving for the fi rst time, the station is their gateway to a new, exceptional world. Its modern style is a portal to another time. Most don’t notice its importance or how much it stands out because they are looking at the rest of the historic architecture. It’s only when we are returning to the station, ready to leave the city behind, that we truly see the station.

*The train station was designed in the 1930s by the Gruppo

Toscano architectural team led by Giovanni Michelucci.

Sarah Kauzmann

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FUA VISUAL ART AND DIGITAL STUDENTS

Volume is a single word that holds multiple meanings. It can describe a level of noise, a

collection of books, or a quantity. Through my photos, I have explored the latter defi nition

– the volume of spaces in Firenze. These images refl ect the volume of the city in the spaces

I have found, large and small, through compositional elements such as form, color, and

light. The shapes throughout the photos are geometrical, and in some cases abstract the

photo from its location, creating a graphic portrait of Firenze’s diverse structures.

Anna Lynch

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A TRIBUTE TO THE LESS CONVENTIONAL ARCHITECTURAL WONDERS OF FLORENCE

The built environment of Florence consists of many different volumes, which are intentionally

molded by the structural shells and architectural features of a building or a space.

By stepping out of the typical tourist path, the adventurer discovers many architectural

masterpieces. The following buildings evoke wonder and awe, and are prime examples

of the architectural innovations that have manifested throughout Florence’s past and

present, and will be inspiration for the future. Wondering where? Take a journey here...

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Palazzo Pitti

Palazzo Pitti was originally built in 1459, although it did not obtain iconic signifi cance until the mid-1500s. The walls and ceilings are covered by frescoed paintings which manipulate the viewer’s perception of the surrounding shapes and volumes.

Castle Sammemezano Sammezzano, Leccio (FI)Castle Sammezzano, located near the town of Reggello, is an Italian interpretation of Moorish architecture. The seemingly infi nite repetition of multicoloured shapes, patterns, and designs are a feast for the senses. The optical illusion creates form and volume that merge together.

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ARTS

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Unusual Florentine Architectures

ALLISON SCHULTZ BONNIE SWARTZ

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Palazzo Di Giustizia Palazzo Di Giustizia is an example of Italian post-modern architecture. The utilization of geometric masses parallels the linear structure of the recently built Teatro dell’Opera.

Teatro dell’Opera Teatro Dell’Opera was designed by Studio ABDR from Romeand was built in 2013 as the new home of Florence’s Opera House. It is a futuristically styled complex, consisting of shifting “boxes” of varying volumes stacked on top of each other.The lack of spacial dividers provides the visitor with a heightened perception of the overall volume represented by the complex.

Casa-Galleria Vichi

Casa-Galleria Vichi is a Liberty-style apartment building located near the Arno River. This is a rare example of Art Nouveau architecture in the city center. The smooth curves and shapes create an illusionof spherical volume inside the residence.

Ph. by DAVID WEISS

Photos by CHRISTINA MARIE GARCIA

Ph. by DAVID WEISS

ARTS

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Photos by Christina Marie Garcia

VOLUMEPiazza Santo Spirito, 5/rVolume, located in Piazza Santo Spirito, is a bar, book shop, muse-um, live music venue, and very trendy place to hang out. The music typically includes live jazz, funk, acoustic, or even DJs with electron-ic/dance mash-ups.

JAZZ CLUB FIRENZE Via Nuova De Caccini, 3Jazz, Jazz, and more Jazz. Jazz Club Firenze requires a membership in order to attend, which is a one-time, very small fee. This club is open every day at 10:30 PM, except Mondays.

NOF CLUBBorgo San Frediano, 17If you’re looking for rock n’ roll, funk, and blues, NOF is the place to go. Wednesdays-Sundays are the best nights. If you play music, sometimes thy have blues jam sessions!

COMBO SOCIAL CLUBVia Mannelli, 2Very large venue with a wide variety of music. You won’t fi nd many foreigners here, as it is a little further out from the city center. How-ever, you will hear various types of music from abroad. Some nights feature a 60s rock cover band. A must see.

The volume of music in Florence when I fi rst arrived was very quiet. I came with my guitar, thinking I

would see people sitting by the river strumming their own, or hundreds of clubs with live music, but I

didn’t notice any at fi rst. It defi nitely required some research to fully understand a few weeks later that

the Florence music sc ene volume can get pretty loud. Music of all genres can be heard at a multitude

of venues, as well as just by walking the streets. Walking from the Pitti Palace, over the Ponte Vecchio,

turning right to the Uffi zi Museum, I could hear 3 different street performers playing violin, guitar,

and accordion in the length of a ten-minute walk. There are often musicians playing near Santa

Maria Novella as people go to and from the train station. However, if you’re looking for where to go

to listen to some real live sounds, here is a short guide to where to hear the best music in Florence:

MARISSA SMITH turning up the music volume:fl orentine venues

Photographs byCHRISTINA MARIE GARCIA

(except for first row right image by EMILY BERGER)

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1956 | Nove Gonne (Nine Skirts)

First presented at Palazzo Pitti in the Sala Bianca (Florence).Dress-sculpture, red silk taffeta with nine elements superimposed on the skirt.Archivio Fondazione Roberto Capucci

1980 | Ventagli

First presented at Palazzo Barberini (Rome)Dress-sculpture, red taffeta with fan elements inserted in the skirt hips that unexpectedly open and close.Archivio Fondazione Roberto Capucci

Roberto Capucci checks the measurements of the Nine Skirts dress in red taffeta worn by the American actress Esther Williams.

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Capucci began his fashion career in 1950 when he opened his fi rst couture house in Italy at the age of 20. In 1951, he presented his collection at the second Italian fashion show in Florence. His unique pieces were immediately noticed and adored, and he became

known as “boy wonder.” Roberto Capucci’s fi rst collections in the 1950s led to both national and international recognition. One of his fi rst successful and well-known pieces from this decade was his Nove Gonne (Nine Skirts) dress. The bright red dress was inspired by the rip-ples created when pebbles were dropped into water; this pattern is evident in the nine-layered skirt cut high in the front and draped to the fl oor in the back. In 1958, Capucci created the revolutionary Box Line Collection, which focused on enclosing the female fi gure in geometric volumes. The Box Line collection features square and rectangular pieces, which did not focus

DEBORAH GALASSO CHANDLER VIOX

“I don’t consider myself a tailor or a designer

but an artisan looking for ways of creating,

looking for ways to express a fabric

to use it as a sculptor uses clay.”*

Roberto Capucci

Photos courtesy of FONDAZIONE

ROBERTO CAPUCCI

Inspired by the boxy structure and style of ancient Japanese samurai armor and the colorful,

swirling movements rooted from the Baroque Era of the 16th century, Roberto Capucci was

able to combine two distinctly different styles and create art in the form of gorgeous gowns

and clothing. Each of his collections embrace the ideas of nature, movement and changing

volume, focusing specifi cally on form, color, and material. When visiting the Capucci Museum

in Florence, these inspirations were clearly spotted in each dress, from the samurai inspired

sleeves to the geometric skirts. Throughout each decade, Capucci reshaped the idea of volume.

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on enhancing or taking away from the human silhouette but on the artistic aesthetics of the actual clothing. Capucci’s Box Line collection was so unique and infl uential that he received an Oscar for Fashion in the United States that same year.

Capucci revolutionized his style and dresses throughout the 1960s and 70s. During the 60s, Capucci continued to focus on volume and combined soft colors with black and white patterns. He opened his second couture house in Paris in 1962 and was inspired to incorpo-rate unique materials such as plastic, metal, and plexiglas into his pieces. Capucci’s Optical dress from 1965 was drastically different from his original works but still embraced his love of volume and form. Though the dress is more form fi tting than his previous pieces, the silhouette is still volumized by the use of feathers around the cuffs and hood and the use of knife pleats along with fabric that im-itates an optical illusion. The youth and feminist movements of the 1970s-inspired Capucci to incorporate brightly colored fabrics with natural materials such as fl owers and plants, stones, bamboo and straw. He focused on smooth lines and pleats while emphasizing the waist in his silhouettes. The dresses are not as sculpted and struc-tured as some of Capucci’s previous collections, but his idea of volume stems from his incorporation of natural materials.

In 1980, Capucci shocked the world by resigning from the Italian couture system to work on his collections at his own pace. He did not see eye to eye with the fashion world’s lack of artistic passion and ob-session with commercialism. Capucci freed himself from these con-straints and stayed true with his original visions, letting his creativi-ty fully fl ow once again into his work. This is the point in time when Capucci became a true sculptor of clothing and not just a designer. His dresses became even more eccentric, fearlessly mixing dozens of colors with large 3-dimensional silhouettes. Capucci’s Ventagli dress from 1980 encompasses the extravagant volume and form he was aiming for. Ventagli means “fan,” the dress was inspired by the per-sonal folding hand fans used in Japan since the seventh century.

1956 | Bocciolo

First presented at Palazzo Pitti in the Sala Bianca (Florence).Dress-sculpture, red-coral embossed taffeta.Archivio Fondazione Roberto Capucci

1998 | Oceano

First presented at the Lisbon World Exposition.Dress-sculpture, taffeta plissé in 37 shades of blue.Archivio Fondazione Roberto Capucci

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It has been a decade since Roberto Capucci has graced the run-way with his eccentric collections but for Fall Winter 2015, the House of Capucci will be releasing a ready-to-wear collection with the help of designer Cinzia Minghetti. Minghetti will lead a group of young designers who will interpret Capucci’s previous Haute Couture collec-tions and design the ready to wear collection based off of Capucci’s most famous lines. The new collection is led by art collector Paola Santerelli, Andrea Cernigliaro, and Roberto Capucci and his family. The new collection will be inspired by the volume and lively silhou-ettes from his 1950s Box Line Collection and his Little Black Dresses from 1961. These inspirations are evident in the layered box shapes, geometric designs and black bows on the back of the dresses. The new collection is classic Capucci; mixing colorful bonded silk fabrics and furs while also having more muted ensembles in all black or mono-tone color schemes. The collection includes trousers, cocktail dresses, trapeze coats, jackets, skirts with matching tops, and oversized car-digans. The ready-to-wear collection is fi t for any fashion lover who appreciates Capucci’s individual take on the beauty of women.

*G. Bianchino, A.C. Quintavalle, Moda: dalla fi aba al design - Italia 1951-1989, De Agostini, Novara 1989, p.111.

Roberto Capucci’s extensive line of work continues to be exhibit-ed in some of the most famous museums around the world. One of the latest Capucci exhibits includes “Bellissima: Italy and High Fash-ion 1945-1968” at the Maxxi Museum in Rome, Italy. The exhibition covered 20 years of fashion and the “Made in Italy” label recogniz-able and appreciated on a global scale. Another Capucci exhibition at the Portland Art Museum in Portland, Oregon, United States. The exhibition, “Italian Style: Fashion since 1945” covered the growth of Italian fashion since the end of World War II and the establish-ment of high quality and style associated with Italian fashion. This exhibit ran until May 7th, 2015. The Roberto Capucci Museum at Villa Bardini in Florence is open and displays many dresses from Capucci’s previous collections. The dresses shown in the museum are changed frequently to display the different styles designed by Capucci over the years. There are also occasionally intensive fash-ion courses available. The museum is open Sunday through Friday, 10am to 4pm and closed the fi rst and last Monday of the month.

NEW COLLECTION FW 2015

Little black dress.

Pencil skirt and mink-lined jacquard blouson jacket with square patchwork, high-collared cashmere sweater.

Navy bordeaux double box skirt, navy bordeaux box top, dark navy fur collar.

[Ph. Mote Sinabel Aoki]

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Yojiro Kake is a designer that was born in Hyogo Japan and studied fashion for three years after graduating high school. While living in Japan and working as a pattern maker and designer for a company, he soon realized that he wanted to design on his own and needed to learn more about the fashion industry. He then moved to Florence to continue his fashion studies, and relocating has helped him broaden his view on fashion - he now designs women’s couture pieces with passion and meaning behind each design. Yojiro’s collection was presented at the Spring 2015 fashion event at FLY, the retail store for emerging designers, vintage, and consignment at FUA’s fashion campus.

yojiro Kake

NATASHA BANKS, TAMEKA DARNELL, ANGELINA D’SOUZA, KATHLEEN GREY, MARGHERITA INNOCENTI, LINDSAY KEATON, BREEAUNA MORAN, RAMZI MALHOUF, CHANDLER VIOX

Ph. by RAMZI MAALOUF

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When and how did you discover your interest in

fashion? Was it a spontaneous decision or have you

always known it was your calling?

I did not know about fashion at all until I was around 17 years old. My friends were always talking about fashion and brands that I had no idea about, it sounded like a world so different from my ordinary life. Eventually I decided that I wanted to try to throw myself into the world of fashion that seemed so mysterious and different to me.

Your 2015 Spring/Summer line is inspired by Moirai, the

Greek Goddess. Where did you get that idea and how did

it help shape your collection?

2015 S/S Couture capsule is a collaboration with Class Hair Sa-lon from Prato, Italy, a project performed at the Alternative Hair Show 2014 in London. The concept is originally from Equilibri-um, to balance one’s life, which is infl uenced by the control of Moirai (the three Goddess of Lives), then struggling like Ying-Yang. An individual can eventually fi nd his or her own path by balancing destiny and confl ict. For the design, I chose the shades and images of climbing plants like vines to create the structure, mixing with rigid, extra-large shirts - like overgrown leaves.

What are your main sources of inspiration today? Did they

change through your transition from Japan to Florence?

I am usually inspired by things in my everyday life such as emo-tional people, food, art, music, news, and everything that I see around me. These forms of inspiration do not change wherever I am around the world. In Florence I have been inspired by the dif-ferent sculptures because one could easily associate my process of designing with the way sculptures are designed to look.

What are you most proud of about your latest collection?

The design of less volume. Compared to previous collections, 2015 S/S RTW items are less voluminous and decorated. I needed more courage to challenge the style of less. We are all proud of this out-come, it is more practical plus there are more and more people who would love to buy and wear the garments.

How would you describe your fi rst time being featured in a

fashion show? What do you think about fashion shows in

general and in connection to your profession?

I have always seen fashion in pictures, or videos of fashion shows, so fashion has always been a big deal for me. There are many different approaches, ideas, stories, and passion poured into fashion shows and it is my dream for my brand to have a Haute Couture show in the near future with a lot of emotion and mystery incorporated into it. This is not about money or business, it’s about the dream.

What was one of the most challenging techniques used

to construct one of your garments? Do you use different

approaches or techniques? What marketing/PR strategies

have you used for multiple target audiences?

As a designer, my aesthetic involves using voluminous shapes and in-tricate detailing to portray a story. The techniques associated with this type of look involves using lots of pleats and fi nding unique ways to create distinct shapes out of my garments. Currently, I have not defi ned a particular target audience. I prefer to learn by viewing consumer’s

Ph. by CHRISTINA MARIE GARCIA

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Photos by SILVIA MANCINI

Photos by OLGA MAKAROVA

On April 14th, 2015, Yojiro Kake

presented an exclusive capsule collection

runway show at FUA’s fashion campus.

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reactions to my products. But I am sure that within a few years I will have developed a steady marketing strategy.

Do you have a personal favorite look of your own work?

My favorite look for now is a strong piece created from many hand-kerchiefs. The reason why I like it is because I can still feel my hope and my voice from this look, even though it’s not a highly technical, quality item. I really like this energy that comes from within.

What has been one of the biggest struggles as a young

designer and how have you overcome that challenge?

One of the biggest struggles for me has mainly been lack of fi nanc-es. I used to just design clothes for myself but with my own brand I now design many more pieces for business. It was very diffi cult for me at the beginning because I did not have the money that I needed to create new collections but I have been able to move forward with my brand due to the support and help of the people around me.

Where do you see your brand in fi ve years?

I have always desired to share my vision with the world through an extremely emotional fashion show that involves all fi ve senses. So my hope is to have a haute couture show within the next fi ve years. I can also see myself expanding into the menswear arena.

Do you have any suggestions for aspiring designers?

It has been two years since my brand launched and it has been a slow process. We have been improving and learning from every opportunity and problem placed in front of us. Everything has been a huge challenge for us but now we en-joy these challenges because they help improve the brand. Seeing as how I am still a designer facing many challenges, I do not know what advice I can give to new young design-ers other than nothing is impossible if it is your dream.

If you could give aspiring fashion students

one piece of advice, what would it be?

This thought keeps me and my partners motivated to continue and overcome struggles. To show your real cre-ativity, an adventure leading to failure or problems is always awaiting. But the courage to challenge yourself is already more creative than the result.

As a designer, my aesthetic

involves using voluminous

shapes and intricate detailing

to portray a story.

Photos by Christina Marie Garcia

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THE SEARCH FOR VOLUME: EVA DI FRANCO

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Photographer: SPENCER SISSELMANled by Fashion Photographyinstructor SIMONE BALLERINI

Model: Elisa Cerbai

Hair stylist & makeup: CONSUELO CARDELLA

Stylists: OLIVIA HINRICHS & JORDYN BERK

Puzzle sweathshirt by Eva di Franco

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Hand-dyed cotton and silk jacket by Eva di Franco“Few days in Salerno” Capsule Collection

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Kaftan in degradé boiled wool by Eva di Franco

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"I am curious, abstract, and balanced,” Eva di Franco says in self-refl ection.

To examine the inner workings of a designer’s mind and on a more deeper level, a designer’s

heart, is an opportunity in itself. To be able to try on the products of these inner workings is every

fashion addict’s dream. I walked into Eva’s studio one Monday afternoon, ready to embrace the

experience of a dream turned into reality. “I think these adjectives partially match my style,”

Eva continues. Here, she reveals just how her career transitioned into what it is today.

VOLUMES FOREASY DRESSING

FUA student Kathleen Grey is shown here styled in easy-to-wear and unique pieces by Eva Di Franco. The best looks are voluminous and allow wearers to style items such as the ones shown here.

Left: Yin Yang top by Eva di

Franco, “twentytwentysix” Capsule Collection

Tabi pants by EVA di Franco, “twentytwentysix”

Capsule Collection

Right:Kaftan in degrade' boiled

wool by Eva di FrancoBoots by Gianna Meliani

Photo portrait byFRANCESCA NICOLOSI

EVA DI FRANCO KATHLEEN GREY

Everything started in London three years ago, with the support of my best friend. We started meeting up once a week in cafes, during our spare time. Day by day, new tasks and ideas were

coming up. 2enty26 was then fi nally born. The fi rst season-less capsule came out in April 2013 as ISSUE#0000: essentially black and white convertible pieces. The buyer of a shop in Shoreditch, London loved the collection. My designs were fi nally out there. In 2014, I decided to come back to Italy and set up my own label E V A D I F R A N C O. The fi rst collection “Whites” came out in May 2014, and then “Few Days In Salerno” which are one off pieces. They have been sold both in Lon-don and Florence. I realize now that I need to build a network of stockists, so I have been considering the option of taking part in a fashion trade show for SS16. Things are getting serious! I am curious, abstract, and balanced. I think these adjectives partially match my style. During the design process I deal with ideas and concepts, but I force myself to be more concrete when it comes to marketing. Wabi-sabi philosophy, color, and folklore inspire me in my life. My favorite designers are the pioneers of the Japanese fashion avant-garde -

Issey Miyake, Yohji Yamamoto, and Rei Kawakubo. The way they questioned the tailoring process in the 80s was so revolutionary. My style icon? Tilda Swinton - essential, sleek, and elegant. When I design I think about someone who is looking for the es-sence of a garment, someone creative and confi dent. A person who

doesn’t like obvious clothing. For this upcoming spring season, I am really loving the

color tangerine. I was surprised that designing is such a small part of the game, especially when you are an independ-ent designer. I like traveling to London quite often; I lived there for four years and it always feels like home. While I’m there I follow my B&B diet - brown-

ies and bagels. Healthy isn’t it?! Five years from now is enough time to develop a few of my projects.

One is making one-off pieces, entirely designed, crafted and sold in my studio-atelier.

Another thing I have in my mind is a Unisex line. Then I would love to design a permanent and season-less wardrobe of basic garments that represent the essence of the brand. I think the only way to achieve goals is to be passionate, work hard, but keep it humorous at the same time.

www.evadifranco.com

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INDIRA RODRIGUEZ, LISA MOROTTIVALERIA PIRAS, ALICE DAINESE

YLE

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pump upthe curves!

WOMEN’S BODIES SPEAK OUT

Today we are witnessing an increase in signs pointing

towards a change in fashion trends: More and more

clothing designs are compatible with busty shapes.

The unexpected protagonist of this countertrend is

the so-called “curvy woman.” This exclusive interview

features Sardinian model Mariagrazia Loddo and former

1955 Miss World Susana Duijm from Venezuela.

Illustration by RINELL PONCELEON JAMES

Ph. by FEDERICA CARRAI

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CurvyThese are the new models in the spotlight; girls with plunging necklines, large hips, ship-shape legs and beautiful faces: beauty

becomes “volume” and gains new shapes and sizes. One of the most recent conquests of this “curvy revolution” has been the choice to insert in the Pirelli calendar the plus-size model Candice Huffi ne. This publication is well-known as the main representative symbol of female beauty. To introduce a curvy woman in this glossy context, a calendar that has always identifi ed the most beautiful women of the world, is considered a real innovation and a break of frame in the fashion and photography industries.

In the Italian panorama one of the most important spokesper-sons of this trend is Mariagrazia Loddo, a curvy Sardinian mod-el who has had to struggle with the rigid standards of the fashion world since the beginning of her career. She speaks about her typi-cally Mediterranean sizes and explains, “The term curvy indicates a thin model, with a regular size, a shapely body with noticeable breasts and pronounced hips, in essence a buxom model with a harmonious body full of curves!” Mariagrazia has chosen to constantly persevere in helping girls who have diffi culty accepting their own bodies: “I have been a model for many years and a victim of discrimination by agencies and photographers; even though I was 20 years old and weighed less than 50 kg, they convinced me I was too overweight to be suitable for this profession."

The standards of beauty recommended by the fashion industry in these last years have in fact always exalted an “ideal” type of woman rather than a “real” one; the stylists, the pattern makers, the fashion show organizers, and anyone who coordinates beauty contests have a particular type of woman in mind, one who has to be “perfect” according to their working needs. After many years of hegemony of the so-called “size-zero models” both on the runway and in magazines in every part of the world, an increasing number of fashion houses have fi nally started to considered more sinuous fi gures and more comfy styles.

Israel has been one of the fi rst countries to go a decisive step fur-ther in acceptance of a new model of the female body. On January 1st, 2013, the country passed the fi rst law in the world forbidding the employment of models with a BMI (body mass index) under 18.5, the limit established by the World Health Organization as an indicator of malnutrition.

All efforts to create a regulatory instrument have been unsuc-cessful in Italy. At present there is a self-regulation code, signed in 2007 by the Government and the National Fashion Chamber, which requires all stylists to not employ women with evident symptoms of an eating disorder; Mariagrazia confi rms: “Times change and even the most conservative fashion designers are becoming convinced; I do believe that beauty doesn’t depend on weight […] For so many years we have been passive witnesses of absolutely illogical standards of beauty. Many girls were forced into emaciating diets that so often led to eating disorders or were sometimes the cause of severe diseas-es.” For these reasons the Sardinian model, actively involved in the battle against anorexia, reminds all women that “First of all it is important to have a clear awareness of our own physical appearance and how it is perceived in the eyes of others, it is only then that we can come to terms with our body and start appreciating ourselves!"

Miss World 1955 Susana DuijamPhotos courtesy of Susana Duijm

Model Mariagrazia LoddoPh. by FEDERICA CARRAI

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The fashion world has undergone many transformations until today and Susana Duijm has certainly contributed to its con-stant evolution: She was Miss World 1955 and is also a famous

Venezuelan model and actress. After taking off her modeling shoes she has kept working in the fi eld as a presenter in many beauty pageants: “In my life I have had the opportunity to model for many different stylists and I have seen many thin models that could main-tain the curves in their fi gure. But I have also seen many other types of models who were really, really too thin and I could never agree with this trend".

Today she is 78 years old and, she says, nostalgic about the past, “In the good old days the women were well formed, beautiful and sin-uous, with large hips, big breasts and small waist. Despite that, when I worked, it often happened that many people accused me of having too thin legs and this made me feel inadequate.” This makes us think about how, regardless of time and trends, the female body has al-ways been an object of prejudices and stereotypes, forcing women to adjust to a pre-determined ideal of beauty in order to feel accepted and beautiful.

Susana also knows about the new “curvy phenomenon” and comments, “I think it is fantastic as not all the women can be tall and thin: there must be something for all tastes! Short, tall, thin, voluptu-ous: variety is perfect! I have had the opportunity to know women with full and curvy shapes which are wonderful and in addition they have an innate sensuality and elegance."

Now the question remains: will this phenomenon stabilize a real change or will it just be a temporary trend? Susanna expresses her doubts, “Times always change but despite that I don’t think we can ever go back to the beauty standards of my days, even if at heart I truly hope we will."

Considering the variable nature of fashion, we simply wish that these changes haven’t temporarily touched the runways alone, but that they will become integrated and shared by all women so that there won’t be any need to adjust to fashion trends, but instead women will be able to dictate the standards of their own beauty.

Ph. by FIDEL RODRIGUEZ ROSAS. Photos courtesy of Susana Duijm

women will be able to dictate

the standards of their own beauty.

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The city prepared diligently to accommodate the high volume of showcasing designers, fashion-world celebrities, bloggers, and press that are on the edge of their seats ready to report

on the latest shows and trends for the new season. With an endless outpouring of inspiration, many fl ock to known fashion venues to observe and participate in the street fashion scene. To the common passerby, this sea of cameras, iPhones, and bustling, well-dressed people, can be overwhelming, especially with the stunning results of trends and street fashion all appearing on social media, with the popular tag, “#LFW.”

London’s street scene has always been one of vibrant and cre-atively eclectic street fashion. As the city is highly populated and hosts a large quantity of creative people within its domain, to stand out among the rest is absolutely essential. People fi ll every last bit of space within the Somerset House, an important venue to London’s fashion week that hosts emerging designer showcases, and is well equipped with runway space. Street style amongst the hectic crowds

has eyes moving in all directions as camera’s are seen fl ashing from corner to corner. As faux fur has been a rising trend over the win-ter season, there was no mistaking Shrimps, an emerging designer, to take over the street fashion scene. Many “it-girls” were seen and photographed immediately upon sighting the vibrantly colored, tastefully striped, fl uffy coats. Many others that were photographed on the street scene sported stand out colors, fabrics, and accessories that showed their creativity and uniqueness.

Racing through the crowded undergrounds and quickly maneu-vering through bustling streets, all in order to make appearances and photograph outside of these fashion events, proved to be a must for the street scene of London Fashion Week. The brisk cold air in London couldn’t stop these fashion forward bloggers, students, and anyone who’s anyone from executing great street style. From fl uffy faux fur to insanely unimaginable outfi ts, London defi nitely has a high volume of creativity and fl are when it comes to street style and hosting the much anticipated “LFW.”

“#LFW” tags across social media had been bombarding internet immediately following the end

of New York Fashion Week. This marked the beginning to the fl ow of famous fashion heads,

bloggers, and diehard fashion lovers to hit the street scene for London Fashion Week.

CHRISTINA MARIE GARCIA#lfw spring 2015Photographs by

the author

london fashion week

As the city is highly populated and hosts

a large quantity of creative people within its domain,

to stand out among the rest is absolutely essential.

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denim never diesPhotographs by

the authorMARGHERITA INNOCENTI

"Denim never dies!” is the motto of Niccolò Fontana, a young entrepreneur and creator

of the Florentine brand Dandy Level. Born between 2013 and 2014, the brand has

already achieved a great success and received positive reactions from experts who have

appreciated the quality and originality of the clothes presented at the debut collection.

Along with originality and quality, another important element of the Dandy Level world

is the craftsmanship, as the production is 100% Italian and more specifi cally, Florentine.

How was Dandy Level born? What motivated you to create this brand?

It all started as a game. I studied architecture and engineering and have always loved design, so the idea of creating something has always fascinated me. Textiles and special fi nishes are another passion of mine. When I was in stores, I could never fi nd anything that differed from the usual things you fi nd on the market. I had the idea of making jeans by inserting unique applications in order to offer customers a more particular and customized product.

Why the name Dandy Level? Is there any particular reason?

Historically the fi gure of the dandy has always stood for its eccentricity, playful personality, and particularity in fashion. Dandy Level offers a customized, elegant style. The jeans are versatile, made in Italy, perfect for any occasion and with any clothing combination.

The Dandy Level products are entirely manufactured in Italy, a bit 'against’ the

trend of the period, but certainly a courageous choice. Have you encountered

diffi culties? What advice would you give someone who wants to entrust their

production to Italian companies rather than foreign ones?

Again, it all started as a game. I produced a sample and felt discouraged - I didn’t like it. Then one night I sat looking on my computer and I found this beautiful family business in Florence that was able to give life to my original idea. I brought the material to a shop and started the fi rst order. The exit price of jeans is a bit high for stores but in return it is a quality product, made with real craftsmanship. The Italian production costs a lot but it’s important, so I think it’s crucial to promote and support it.

So it is worthwhile to buy Dandy Level jeans?

Yes, it’s worth it. It is a refi ned product, made in Italy, and the price is justifi ed by the tradi-tional product that is not packaged with machines but with the hands and hard work.

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The star of the Dandy Level collection is denim, which over the years has

always changed shape and has been renewed. In your opinion what are the

reasons that make denim so versatile? What makes it better than other fabrics?

Denim never dies, it is a real workhorse for clothing.Of course I wanted to differentiate myself from the other brands because otherwise it wouldn’t have made sense. Competition is high, which is why I decided to fi nd those special, extra details to offer to the customers such as interchangeable labels and inserts in the fabric. Denim is always changing, you can make it more special and distinct. Personally, I prefer a more fi rm cotton like the old Levis 501, although the stretch denim also has its own value especially when it comes to comfort.

In the world of fashion there are many bloggers who over time have reached a

degree of infl uence, sometimes even more than industry insiders. Is the support

of the web important in the creation of a start-up?

Bloggers offer excellent visibility to the product, as does the web in general, so I do not see anything wrong in giving some clothes in exchange for visibility. They advertise and at the same time a brand must produce its own targeted strategies, so it seems like a fair exchange.

What are your future plans? Where do you think the brand will be in 5 years?

There are many projects in store, but I fi rst have to gain more visibility. I would like to give some advice to other emerging designers - be very careful and protect yourselves as much as possible from prepayments or other economic factors. If you make big holes in the budget, you could skip entire collections and for start-ups this is very detrimental. I hope to to grow, we are working very hard and putting in our greatest efforts. Prudence, patience, and pas-sion are the most important factors. Then we’ll see what happens next.

Can you describe your brand using the fi rst three adjectives that come to mind?

“Customized, fi ne, and elegant.” dandylevel.com

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Lapo, tell us about yourself and your background.

About 20 years ago, I quit university to fully dedicate myself to hair-styling out of my love for the fi eld. About six years ago, I opened my own salon in Via Dei Fossi. I operate my business with the support of a young, enthusiastic, and highly qualifi ed staff. Our philosophy is based on hair care and absolute beauty through the use of natural products.

What distinguishes your relationship with regular clients

and those who represent the fashion world? How does this

difference challenge your day-to-day work?

They are two completely different lines of work. I personally pre-fer working with regular clients because I am able to gradually es-tablish a relationship of trust. Once I gain their trust, I am able to guide them and offer honest advice. The loyalty we receive from regular clients is a great source of satisfaction. Working in fashion is extremely fascinating and stimulating, especially because we can compare new styles and trends. However, we are often limited to the specifi c requests and styling needs of the project.

What guides you in the styles that you offer to clients?

How much do media trends (TV, cinema, industry magazines)

versus your own creativity count in your work?

I always seek to create very natural styles and to give my clients a look that they can easily manage on their own. The same criteria is valid for hair coloring, which is inspired by the soft and natural highlights that we see in children’s hair on summer days. Trends of the moment should always be taken into consideration and never be snubbed. However, I prefer to customize a look to avoid the carbon copy effect because that takes away from the creativity of my job.

Volume has been an important factor in hairstyling since the beginning of time. Throughout history,

hair volume has been considered a symbol of power, social class, and importance. As time progressed,

volume took the world to new heights with modern cuts and styles. The media expressed the aesthetic

beauty of voluminous hairstyles from 20th century cinema and beyond. Today, the variation of

voluminous hair trends is wide and eclectic. There are no more standard trends, and fi nding your

own personal look is encouraged. In order to explore the idea of volume in contemporary Italian

hair styling, we interviewed the owner of Lapo Via Dei Fossi, a popular hair salon in Firenze.

lapo via dei fossi

BONNIE SWARTZPhotographs by DAVID WEISSit’s all about

the volume

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Given that hairstylists are guided by various infl uences,

what do you think are the main distinguishing features

that infl uence the Italian scene in an international

contest?

Internationally speaking, Italian style is undeniably an important factor. What we do can easily fi t in the “Made in Italy” concept that’s exported all over the world. The quality and the preparation of Ital-ian hairstylists are what make us stand out when it comes to the management of volumes and shapes in hairstyles.

Like fashion, your fi eld is constantly affected by vintage

style revivals. What is your opinion on the matter?

Our industry is obviously cyclic and goes through various phases just like fashion. A professional should know how to consciously reinterpret revivals of the past and be inspired by them according to the parameters of contemporary trends and to his or her own personal taste.

The theme of the current Blending Magazine is based on

volume. How important is this word to hairstyles and how

has hair volume changed in your fi eld?

Volume is everything in what we do. The beauty of a hairstyle de-pends essentially on the perfect cut that maximizes the natural volume of hair. A true professional must know how to work with volume according to the cut and style. Over the years, we’ve seen various styles such as the exaggerated 1960s volumes, the reduced dimension of the 70s, and the frontal volume of the 80s. Ultimate-

ly, we seek to create harmony by modifying hair volume in order to reach a balanced difference between contemporary and dated styles. One of my great passions is for the cinema of the 60s and 70s. I’m mesmorized by the hairstyles worn by the actresses of those times. When you change the volume of a woman’s hair, you are completely changing her entire fi gure.

Considering the evolution of hairstyles during the

Renaissance or the 1800s, what do you think about these

historic changes and the impact of women’s emancipation

and social equality?

The hairstyles of the past centuries were more strictly related to a person’s social class. During the Renaissance, hair that was done up in elaborate fashions was an indicator of the noble class. The more elaborate the style, the higher the class. This distinction was gradually lost over the years, which has allowed women to express themselves based on their natural look. Women today are free to democratically express their distinct personalities and tastes rath-er than be tied to social impositions on aesthetic appearance.

What do you predict for the future of hairstyling?

Women and men will continue to discover the pleasure of proper haircare. Fortunately, I’ve noticed over the last few years that our clientele is becoming more informed about hair protection. This is important because healthy hair is a fundamental form of mainte-nance. My hope for the future is that people will increasingly prior-itize hair products made from natural ingredients.

lapoviadeifossi.it

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LITERARY CORNER

As FUA’s writer-in-residence, I had the pleasure of working with six students on poetry, fi ction, and creative nonfi ction that considers the theme of volume as it relates to Florence and to their own lives. These writers explore the visual and audial edges and perimeters that delineate space, relationships, and history. They perceive Florence from within, from above, and through the melody that hums at the city’s core. They fi nd rhythms in the reverberations of Florence’s past, locate inspiration in the Dionysian experience of creation, and refl ect on

the volumes that echo in the spaces formed by absence.

Illustrations byCHRISTINA MARIE GARCIA

— JESSIE CHAFFEEFulbright Scholar and

FUA writer-in-residence

A Variation of Box Treesat the Gates of Heaven

Some anniversaries, my palms get so foreignthey are no longer the ones that knew yours—

this inevitable shedding we can’t call remembering.In my dreams I am knitting up stairwells,

transgendered goodbye steps so pumped with breath—I sup in, sharp, through my teeth & taste your voice.

You, hunchback, slouch toward mein my cerebral cortex: with this I am

always next to you. Speech is a vehiclefor carrying language, but it is not language

itself—cocoons waiting on my earlobes. You died on PalmSunday; I’ve worn no box, yew or olive since,

no needle in my arm. Just a quiet walkover nested footprints.

LAUREN SARRANTONIOMissing: Beloved Sister,

Daughter, Friend

She has empty pockets and eyes that don’t breathe:

when she’d look to me, I knew she remembered how air felt ,like the hour she fi lled her chest—with no plan on having more.

Waking up is half relief since I found she holds the world

at times; I would hold it but could never stand. Yesterdaybecame birthday wishes because she stopped looking to me

the moment she started counting minutes on her cheeks.

LAUREN SARRANTONIO

M E R 2 0 1 5

m. Just a quiet walknts.

Literature

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LITERATURE

The bright sun gently touched his shoulder and the tired structure gradually opened his eyes to the new day. Over the years, he had known many pestering mornings, but somehow the joy of the radiating light found a way to warm his weary, stone heart, grown cool with the night’s solitude. People slowly trickled down the streets around him. Foreign noises rose to his ears and

cigarette smoke and car fumes clouded the air. Even after centuries of watching these people, they still left the building confounded. Why do they point at me, fl ash lights at me, and constantly touch me?

Once every century, a little human being might catch his attention: a mortal who would come up to him and look not with awe, criticism, or curiosity, but rather acceptance. In one of these moments, a little girl walked up to him and began speaking as if she had known him for years. Perhaps he had seen her before, but the building had long ago given up trying to distinguish one face from another.

“Hello!” the little girl said, looking up with a smile. The building had no idea what she meant, but her presence gave him a strange feeling of warmth. Her black hair fl ew around her the way ravens coast through the sky. Her voice was a refreshing descant above the city noise, a chirping fi nch amongst the crying masses. The ancient structure had witnessed many voices lost to the crowd, yet this tiny human did not cease trying:

“Mother is inside praying, but she said I could sit on the steps. I like to talk a lot and the people inside turn around and glare at me.” The little girl prattled on about her day, and when her mother appeared, she waved goodbye and left. Days, maybe years,

passed as the ancient structure noticed this peculiar human wandering up to his doors, sometimes without her mother. When she was by herself, the girl would not go inside but would sit upon his steps. The girl became taller and then slowly drooped as a fl ower wilts near the end of its life. He grew fond of this little wisp of humanity and would silently sit soaking in the sunshine and rain she brought with her.vv

One day the little being wobbled to his doors. The building could not recall if she had always walked in this manner. “I fear I will be leaving you soon,” the old woman said in a quivering voice, “but I will come visit again on my last day.” The old structure could sense human emotion taking place. He tasted salt upon his stone. The little girl’s face looked differ-

ent, and he could not understand how a being far younger than he could look so old and frail. “Goodbye, my friend.” She gently pressed her lips against the wall and walked away. Not long after, a black casket was carried

out of Santa Croce. The building the little girl loved was not moved. He remained in his square, observing humanity march past him, pushing their smoke and car fumes in his face. Time eventually swept the memory of the girl into the past; but once in a while, when humanity really baffl ed him, he would think back to the glimmer of human emotion he had almost understood: a little face looking up at him with a smile and saying, “Hello.”

Through Worn EyesMAGGIE SCHUTZ

The maddest minds and most colorful heartsAre often sneered at with snarky disdainThough passion-pumped wisdom holds hands with starsand discovers worlds in droplets of rain.Expression, too beautiful for such worlds,Tossed downstream, bleeding its tireless glowFor the minds trying to humanize pearlsKiss sea fl oors, tied to cinderblocks of gold.Starving, abandoned, their faith on death’s chairThoughts outside boxes are forced to confi ne.To my wild-hearted inmates, heed my prayer:That which you seek outlives that which you fi nd.

For in spite of their crippling waywardness,Endearing, freeing are cracked compasses.

SmartGABRIELLE POVOLOTSKY

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Strolling along the cobblestone streets of Florence, I can’t help but look up at the beautiful buildings, take in the unique gothic-style cathedral, and admire the iconic statues and museums surrounding me. Living in a city fi lled with so much history and art leaves me in a constant state of speculation as to what I might stumble

upon around the next corner. Walking through the city is both exciting and effortless—weeks turn into days and hours turn into minutes—and with the Duomo in my backyard, it is easy to feel as though I am walking through a postcard or living in a painting. With the sun beating down on my face and refl ecting off the tops of the buildings high above me, it is hard to feel anything but miniscule. But what if I was at the top of one of those buildings, with a bird’s-eye view looking down on the entire city?

My favorite spots in Florence allow me to do just that, and seeing the city from these different perspectives has been very meaningful. Piazzale Michelangelo is one of the places where I can overlook the city. From this vantage point, I can see in one glance the famous Duomo, the Ponte Vecchio, and the Arno River fl owing between the end-less red rooftops. Seeing Florence from above makes me appreciate the narrow streets and grand piazzas I walk through every day. As I sit on the steps of the Piazzale, listening to live music, I fi nd myself thinking, How could anything be better than this?

I have a similar sensation when I see Florence from the top of the Duomo. Climbing up 463 steps may get tiring, but it is worth it. Because the cathedral is located right in the center of Florence, the 360° views from the top are nothing short of perfect, and as I look out at the city and watch the specks of people circling the streets below me, I no longer feel as minuscule as I do on the ground. Experiencing Florence from multiple perspectives—from both within and above—has enabled me to enjoy every inch of this incredible place.

ciao bella and marriage proposals beckon from market salesmenas bells chime from distant church towers, marking the passing of another hour a street musician fi ddles familiar tunes for pocket change while blaring car horns announce another near-accident

rain patters on cobblestones as pedestrians shuffl e along, their umbrellas rippling open with a dull thump

in a restaurant, glasses clinkbeers hiss and corks pop from bottles of wine

above me, pigeons’ wings fl ap as they look for a safe roost away from the obedient dogs on jingling leashes

quiet gasps escape the mouths of tourists witnessing monumental beautywhile natives sigh their way through the crowds, muttering words of frustration

I exhale a soft breath, my only contribution to this musical cityit doesn’t need my help to create this songI exist simply as a member of its audience

A Florentine MelodyEMILY FITZGERALD

Sky HighERIN NICOLAI

ciaoas b

a stwhi

rain

l buildings, take in the Li i i i

nung

al

smenssing of another hour

umental beautyg words of frustration

city

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The burst of fl ames spreads its wings through the beacon of blurred Tuscan dusk,Disappearing the darkness out from its rustic sleep,And century after century, the little town rises from its lengthy slumber, Pushing its way into another day.

1630The pulsing blackness engulfs the city,A tainted smell through the unbolted windows. It is fi lthy. The People. The Place. The City.But no one cares.

The oppressive fi gure towers over us, watching us suffer.A family name so vigorous, dominating the world we live in,Their capes and gowns hiding behind the Baroque artwork they bring,But we know the truth.

1861The mass of rusty cavalry rummage through the street, Pools of baffl ed faces inundate. Unifi cation, they said.We are one, solo Italia. Venice and Lombardy are free. The warriors salute beneath banners. Camoufl aging their masks.

Blood was shed, but the nation obliterates their memory.Shaping their minds with welfare, struggle and desire for independence. Language. Food. Culture. All becomes combined into one pot.Grazie Mazzini. We were awaiting a shift.

1942Dread and horror dictate my every breath, Permanent gloom clouds the city, like thick smoke.This war is not for the fainthearted. Depression-Oppression-Feeling may never end.

Volumes of arms are concealed above the river,Launched out in the obsidian of nights. Tucked and buckled-like our men,Who have disappeared into the bleak past,A point of no return.

2014The crimson red stiletto illuminates the tip of the cigarette,And cars buzz down the alleys, embarking for the day,Beating through the rhythm of the smoke along the cobblestones.The intensive aroma of cappuccino drifts from the panetteria.

It is the season again. As the lanes become compact.Impinging the swarming pools of bodies. Bumping and thwacking, infl icting exhaustion.Bloody tourists.

The burst of fl ames settles its wings to its returning plot,The twilight engulfs the perched buildings, And the little town pushes its way into another slumber,Century after century.

Florence Trhough the YearsCLIODHNA JOYCE-DALY

bring,

ndence.

our men,

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One such derivative is the word “volume,” which developed from the Latin word “to roll.” Origi-nally referring to a scroll that contained text,

“volume” later developed an additional meaning to help defi ne how much was included in a body of text, eventually giving rise to the geometric defi nition we have today.

As Ancient Roman infl uence lives on through Latin deriv-atives like “volume,” those volumes too help carry on a piece of history - the Florentine bookmaking and consequential book pres-ervation tradition. Centuries ago, the scrolls to which “volume” orig-inally referred transitioned from one long piece of paper to many smaller ones, bound at the edges. Since then, the processes involved have been mechanized to produce books as we know them today. Hand-bound books, however, can still be found, studied and made.

Florence is rich with bookmaking supplies - ubiquitous leather, fi ber for unique threads and beautiful handmade papers. Workshops like Il Torchio still hand-bind books and journals, even producing custom orders. Current owner Erin Ciulla will even teach workshops to interested groups, spreading the tradition even further.

Florence also keeps its history alive in book res-toration. In 1966, the fl ood of the Arno damaged innumerable books, pieces of art and historical arti-facts. At the Biblioteca Nazionale Centrale di Firenze

alone, over 1.3 million articles were damaged. This in addition to damage in dozens of other libraries, shops

and museums devastated Florence’s historical collection. This brought rise to extensive restoration and preservation

methods. Among others, the Central Institute of Restoration and Institute of Book Pathology contributed to the effort and through work in Florence, concepts like phased conservation and mass de-acidifi cation were born.

It was lucky, then, that Florence’s bookbinding tradition had not been forgotten, as many of those artisans and binders were called upon to contribute to the preservation effort. The work that was re-quired to restore and preserve all of those articles and the fact that there were people available to help who were skilled in those tech-niques both help verify the importance of history in Florence. From Ancient Rome to the Renaissance, Florence recognizes, appreciates and perpetuates the signifi cance of its past.

Florence is a town that has certainly not forgotten its Roman roots. From its layout to its language

and architecture, nods to Ancient Rome still fi ll Florence today. Though it is easily seen in many

architecture and design elements, Rome’s infl uence can best be heard when walking through the streets

and listening in on conversations, since so many languages, Italian included, is derived from Latin.

EMILY PURCELLbook boundPhotographs by

CHRISTINA MARIE GARCIA

Florence also keeps

its history alive in book restoration.

legatoriailtorchio.com

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The statement is undeniably true, because ultimately, the days that really matter are just a few, and not everyone is capable of seizing the moment. Thus, the volume of daily life increases,

and humanity remains paralyzed, choking, under the shade of an immobile and perfect boredom, while opportunities slip away. For both mankind and cities, there are grey days, sunny days and foggy ones, and within them, a great nothingness that fi lls the streets and buildings. All of this volume fi lls up history and whether it’s right or wrong there isn’t a single word to describe it. And then, in this emptiness, which isn’t truly empty since the magma of history is never fully dormant, those fi ve or six unforgettable days dot our existence. We do not intend to write about battles or wars – there are others who attend to this responsibility – because we are inter-ested in the fi ner subtleties that have marked the life of a city. In

this article, we have chosen to focus on some Tuscan cities whose fathomless vanity has never exhausted the sense of great, over-whelming beauty. Don Milani’s movement in the Mugello valleys, the enlightened and serious reign of Pietro Leopoldo I of Viennese origins but Florentine by adoption, the passionate cries of scientist Margherita Hack. Each of these characters spared useless volume from history by sparking days of fi re, of teeming facts and people, of fi erce days of escape and re-entry.

Such was the case of Leopoldo I (1747-1792), Grand Duke of Tuscany from 1765 to 1790. His farsighted humanity and anti-dog-matic enlightenment made Tuscany a bulwark of reason against raging violence. November 30th, 1786 was a day far from being pure volume as defi ned by Flaiano, when Leopoldo I became the fi rst sovereign to abolish the death penalty. In tune with the philoso-

ALESSIA BONANNOCARLOTTA CIRRI

GIOVANNI LUCA VALEAPhotographs by

ALESSIA BONANNO

do youremember

those days?

“In a lifetime, there are only fi ve or six unforgettable days.

The others are simply volume,” as the great Italian

writer, journalist, and screenwriter Ennio Flaiano

wrote in Autobiografi a del Blu di Prussia.

Don Milani’s emblematic phrase, “I care,” heavily contrasted the fascist slogan “Me ne frego” ("I don’t care").

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pher and jurist Cesare Beccaria’s principles regarding the need to abolish the penalty expounded in Dei delitti e delle pene, Leopoldo I forbade torture and prohibited the Via Crucis, a procession infl icted upon the condemned prior to execution. It was a moment of abso-lute pride for the Granducato of Tuscany, and a date to remember much of the Leopold’s reform is still valid today. The ruler saw the human side of those who were on trial, he protected their digni-ty and presumption of innocence, guaranteeing a lawyer to those who couldn’t afford it. In the end, we mustn’t neglect Leopoldo’s vision of the prison as a tool to recover and rehabilitate rather than a place of expiration. It was only through this vision that the condemned could aspire to be reintegrated into society upon release.

There are also days that are redolent of silent rebellion, and not always heroes carry a sword by their side. Sometimes, heroes are not young and dashing but humble and modest. The air on May 26th, 1967 must’ve had a beautiful scent, a per-fume of victory for the many children for whom life had reserved the lowest rungs of the ladder. The merit goes to a Florentine Catholic priest, Don Milani, and his educational treatise Lettera a una professoressa. This was a day unlike others in history, because Don Milani’s message went on to become one of the fundamental elements of the student protests in 1968. Lettera a una profes-soressa is a publication in the form of the letter to a teacher in which Don Milani lashes out at the selectivity of compulsory schooling, guilty of alimenting social imbalance. In Milani’s mind, education – characterized deep social injustices – privileged children from wealthy families and penalized the poorest ones who were unable to get a higher education. Don Milani’s pedagogical work was revolu-tionary: his ideal school had no programs or grades, it had a noble and high purpose such as preparing children to face life and reality. Pier Paolo Pasolini, a declared atheist, visited Milani’s foundation maintained by his last living student in the Tuscan town of Barbi-ana. After spending the night reading the Bible at the foundation, Pasolini conceived the idea for one of his most inspired movies, Il Vangelo secondo Matteo. Don Milani’s personality, gruff but inti-mately moved by an extraordinary love for his students, won over the famed fi lmmaker from Friuli. While Leopoldo I examined the human side of the condemned, Don Milani focused on the bottom levels of society: poor children. May 26th, 1967 was an extraordi-

nary date for education not only in Tuscany but throughout Italy because Lettera a una professoressa was destined to infl uence the teaching methods of generations of teachers.

On the other hand, October 22nd, 2008 seemed a day like any other. However, a mild autumn morning unveiled an important event. In Florence’s Piazza della Signoria, Margherita Hack roars. She shakes her hands, discusses Galileo and Comte, traces the path of human life, and criticizes the government, thrilling a crowd of 4,000 students. The 86-year-old astrophysicist (1922-2013) demon-strated her full communicative force. The hottest topics didn’t scare her, she tackled them with passion and at times anger while

commenting the research budget cuts decided by Berlusconi’s government. Why this date out of all days? Wasn’t it an ordinary lesson given in a public square, yet another protest? No, it wasn’t, because October 22nd proved to thousands of students the glaring necessity of culture in a society where the lust for power and the need to appear abuse the beauty of a free, approachable, and elitism-free knowledge. On this date, in the noblest of Flor-entine squares, apparently distant and diffi cult scientifi c topics as recounted by Hack enthralled four thousand pairs of eyes and ears. For Florence, a city that at times is naïve and bourgeois, it was one of those unforgettable days.What about Florence today? “Unhappy is the land in need of heroes,” wrote the German playwright Bertolt Brecht. Perhaps Florence can be consid-ered fortunate, because big heroes seem to be lacking from its landscape. Cultural immobil-ity has generated a contradiction in one of the most beautiful art capitals, leaving the city at the mercy of a monumental vanity that has discon-

nected it from other Italian cities. Nowadays, political events, es-pecially considering the Italian prime minister and former mayor of Florence Matteo Renzi, make Florence a point of reference, but its citizens still await for days that matter to arise from the dust of everyday volume. The hope of rediscovering something to be proud of not only for Florence but the entire world is not lost. Hope for another Margherita Hack to make crowds fall in love with inno-vation, for a new Don Milani to welcome those rejected by society with open arms, for a visionary such as Leopoldo I to bring new perspectives to a political system that has consumed the country, and for all those who will revolutionize in completely new ways that we have yet to encounter.

Leopoldo I didn’t abolish just the death penalty and torture, he also improved the life conditions of the condemned.

“When you have thrown into the world a child without education, you have thrown a sparrow without wings into the sky.” From Lettera a una professoressa.

“Astronomy has taught us that we are not the center of the universe, [...] we are the result of the stellar evolution, we are made of the substance of stars.” – Margherita Hack

“Cuts to the university system affect the youth. What would we do if we had an Einstein amongst us today?” From Margherita Hack’s speech in Piazza della Signoria, Florence, October 22nd, 2008.

citizens still await for days that matter

to arise from the dust of everyday volume.

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Leaving my apartment at eight a.m. I head towards class. The streets are quiet, not like the erie silence that come with late night strolls but the kind of silence where you can hear the occasional bike chain and the buses as they drive by. At 8:05 a.m. an Italian woman no younger than seventy waddles past me as she heads in the opposite direction. The sun is barely peeking over the buildings but half

the street is covered in light. She walks on the side with shade. She wears a sweater with a long fl owing skirt, black shoes and a wooden cane. She always is walking alone, with determination in her eyes. She carries a single plastic bag in the arm opposite of her cane. Never traveling with anyone, always in the same direction. I guess that’s what she must think of me as she passes by, if she even notices me pass her every day.

At 8:15 a.m. a young boy no older that ten swings open a huge brown door, maneuvering his backpack as he steps onto the cobblestone streets. Every time I wait for his parents to follow him out, but each time they don’t. With him I can assume he is heading to school though I don’t know how far he is walking. He walks there alone.

At 11:00 a.m. I fi nd myself sitting alone at a cafe. I spot a couple across the room sitting at a table enjoying their midday espresso. They seem to be catching up on the week. Her lips separate and close, her tongue pressed against her teeth with a breathe every few words as she debates which topic to continue onto. My eyes scan her lips translating the movements into words but ultimately I can only catch every ten words. I look at his face; in his eyes I can see the distraction, there is so much depth within them that he too must be only catching the gist of her rambling. He too is here alone, catching up on his thoughts.

It’s 5:15 p.m. and the sun begins to set, the sky slowly darkening. A man sits alone on the steps at Piazza Santa Croce. The light slices his face illuminating a few bristles of stubble on his face. His sunglasses hide his eyes but you can tell he isn’t waiting for anyone. He is leaned backwards relaxing as the day is coming to a close. There is nowhere for him to be but here. I sit across from him on a white stone bench scanning the people seeing the others sit there silently enjoying the last few rays of sun as they slowly disappear behind the buildings, hiding until tomorrow. Day by day in this city fi lled with thousands, I see the overwhelming amounts of singles, people who venture and enjoy the city alone, enjoying their day in solitude.

VOLUMES OF SOLIDARITY ZACHARY HAMMER

Ph. by ANNA LYNCH

Ph. by ELLIE BAER

Photos by CHRISTINA MARIE GARCIA

Day by day in this city filled

with thousands, I see the

overwhelming amounts of singles.

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A Suitcase

of

Stereotypes

Photos courtesy of Charbel Kamel

FUA SOCIAL MEDIA SPRING 2015 CLASS*

Interview with Lebanese actor and director

CHARBEL KAMEL

Ph. by MEL JABBOUR

Drawing from language studies, it can be said that we all walk around carrying two

more or less voluminous suitcases: one is labeled “assumptions,” while the other is labeled

“presuppositions.” Together, they make our perception of other people and situations

heavier or lighter; in other words they determine biases and stereotypes according to our

personal background and experience. Ideally, becoming aware of the weight and of the

fi lters it superimposes on everyday situations makes our suitcases easily transportable.

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Is it possible to deliver unbiased information? While debating this issue during the Social Media class at FUA, one of the visuals used to stimulate debate was the recently released, controversial short fi lm by Charbel Kamel. An emerging artist by his own defi nition, Char-

bel Kamel is a young actor and director from Lebanon who decided to move to Paris to further his cinema and art education. As an artist, he decided to address the stereotypes encountered in Europe through visual storytelling as seen in his latest short fi lm, Ceci n’est pas une menace. Viewers see a casting for a short fi lm on terrorist attacks. Charbel fi rst auditions for the role of the jihadist Ahmed to fi nd out that he does not match any of the requested stereotypes. In the end he cannot help but to break free from all of them. This interview is a summary of the conversation that took place between the Social Media stu-dents and the director.

What inspired you to take this issue on?

Since I've moved to Paris, what I’ve heard here are the things discussed in the fi lm. Many French citizens have a childhood best friend who is Lebanese, everyone loves Lebanese cui-sine. These are real stereotypes and clichés I’ve heard everywhere, and they are also related to my accent. So this short fi lm is inspired by true events when it comes to the dialog. The fi lm was written on December 19th, on a plane back to Beirut to see family and friends as well as to shoot the fi lm. For the record, it was shot on January 6th, the night before the Charlie Hebdo tragedy. Many of acquaintances found this to be a strange coincidence and were convinced that I was predicting the future. Nonsense, of course, but we have the same problem in the Arab world related to the image of terrorism wrecking personal property and places in general, etc.

Why did you choose a female as the casting director character?

I thought that sound-wise it would be interesting to listen to a guy-girl dialog, rather than hearing the conversation between two men. Secondly, I personally think that women are more talkative, especially French women. Thirdly, I won’t deny the game of seduction: tra-ditional spectators can more easily sympathize with the situation acted out by a guy and a girl. I wanted to include this “game” in the fi lm to convey further meanings.

Were you nervous about publishing the fi lm online?

Oh yes! I remember that when I came back from Beirut, I had fi nished subtitles and shown it to a very dear French friend. This friend works in the US and was the fi rst French view-er of the project. His reaction? “Charbel, you can’t publish this online.” Then an incident happened to Dieudonné, the French comedian and political activist, who was arrested on January 13th. I literally panicked. Then I sent a private link on Vimeo to some other French friends who were very supportive. I had originally intended to add a line saying that the director is against any form of violence but then I thought that it was redundant: it’s normal that we don’t accept violence!

cultural cliches are like

post-its that we stick on people

instead of a wall.

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What did you expect from viewer’s reactions? Did you intend

to offer a lesson or poke fun at stereotypes?

In every artistic creation, especially in fi lms, there are four things that matter to me: Enter-tainment, respect towards your audience, the message, and fi nally the feelings, emotions, sensations, and so on. I personally prioritize the fi rst point, as I like to entertain people. These four elements are very subjective. For instance, the director of Fifty Shades of Grey might say that she is respecting her audience when she is showing the fi lm, It’s totally up to her. Every director decides how much he or she wants to show of these four elements. I have to say that my fi rst priority is not the message but creativity, experienced in writing and coming up with ideas. Later on I usually grapple with the message behind what I want to show. I make a fi lm because I wanted to make it, and then I wonder what the fi lm wants to say. In the end, the answer doesn’t worry me too much, because I think that creative ideas come from our background, ethics, and morals, so I don’t believe that reducing a fi lm purely to its message matters so much in the end.

Why did you choose an English-speaking victim?

Simple, because of the stereotypes and cultural clichés. We can’t live without cultural cli-chés. We need them in our life and regardless of whether we've traveled a lot, watched tons of TV, or the opposite. Everyone can easily say “the Germans are rigid” and so on for the French, the Americans. These cultural clichés are like post-its that we stick on people in-stead of a wall. I think they are necessary, funny, and interesting; the problem occurs when they become harmful and prevent humans from coming together. For instance, when we say that a certain culture or population is made up of terrorists, or that they are mean or bad, what happens? We stop reaching out towards that population, we become scared of it. Representing the victim as an English-speaker speaks for the stereotype of West vs. East.

What audience were you targeting?

I uploaded my short fi lm online on Youtube, not even on Vimeo, in order to increase ex-posure. It’s naive to say that everyone will like your fi lm, that there will be a unanimous consensus. It’s about a provocative topic that generates discussion. I am an emerging art-ist, and need to have people talk about what I do. Bad publicity is good publicity after all, even if people don’t like my fi lm they share it and criticize it. Even harshly. I prefer this to passive audiences.

* Christine Angell, Meghan Borowick, Lindsey Bowen, Sarah Wanda Dawson, Alexander Delgado, Giulia Dissenha Pigatto, Margaret Kuhn Durnien, Amy Nichole Edelman, Daniel Fiori, Jessica Maddie Fischer, Meghan Jane Gampper, Francesca Giordano, Lily Goode, Kathleen Grey, Tori Grosz, Hannah Gruer, Brielle Jones, Lindsay Elizabeth Keaton, Jamie Kemp, Kaela Marie Kinnare, Ashley Lasota, Joshua Harry Low, Rebecca Elaine Maclin, Donald Maita, Caroline McQuade, Meaghan Molloy, Gina Christine Navarro, Paul Matthew Nordquist, Amanda Piccolino, Angela Stefania Pucci, Stephanie Rizzitano, Connor Saccoccio, Joan Gillespie Sanders, Keeley Shields, Amy Silverman, Marissa Smith, Christina Stellingwerf, Katherine Elizabeth Tudor, Makenna Walls.

This article was supervised by FUA faculty member ISABELLA MARTINI.

Ph

. by

AN

WA

R A

ZZ

I

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Ph. by VANESSA WEEGO Ph. by ALESSIA PESARESI Ph. by ALESSIA PESARESI

soccer cubed:a sport of many volumes

Similar to the Rubik’s cube solution requiring each of the six surfaces to be composed

of corresponding colors, the concept of volume applied to soccer is like piecing

together many mosaic-like elements. We will compose our “soccer cube” by trying

to capture the journey throughout the history of soccer and Florence.

SERENA VINCI, PAMMELA HERNANDEZ NIETO

The link between soccer and volume embraces various elements. The fi rst refers to the foundations of athletic preparation of a soccer player. The training undertaken by the athlete follows

several parameters: intensity, duration, density, frequency and, of course, volume. The player must navigate a specifi c space: the play-ing fi eld. He or she must study it in order to develop the skills and tactics needed to produce the volume of the game made up of ac-tions performed on the fi eld. Additionally, the player moves within other dimensions: the sound produced by spectators who partici-pate in a live or broadcasted setting, and the geographical and mul-ticultural realm of borders to overcome for the different nations represented by the individuals involved in the game.

The dynamics of the game are also perceived in antiquity. Soccer has, in fact, international ancestors from various parts of the world from the Far East to Latin America, involving the ancient cultures of Mexico, Greece, and the Roman Empire. During the Renaissance, the Medici family, who were fans of the game, encouraged the Flor-entine noble class to engage in this athletic activity. This is precisely how calcio storico was born. In 1930, calcio storico offi cially became an annual event that puts the four historic districts of the city up to an intense challenge: Santa Croce (blue team), Santa Maria No-vella (red team), Santo Spirito (white team), and San Giovanni (green team). The event commemorates a special moment in the history of Florence: a rudimentary form of soccer played as an act of aloof defi ance in Piazza Santa Croce during the siege of the city by the troops of Carlo V (1529-1530). This emblematic match is considered the precursor of modern soccer, rugby, and American football.

Today, Tuscany continues to represent one of the most active areas for sports in Italy. Thanks to Florentines Dante Berretti and the Marquis Ridolfi , the hills of Fiesole and Settignano host a center that is home to the technical sector of the FIGC (Feder-azione Italiana Giuoco Calcio, the Italian soccer federation) since 1952. The center serves as the main training facility of the Italian national team. Furthermore, the province of Florence representing the county of towns of which Florence is the capital, is one of the few in Italy that has two A Series teams: Fiorentina and Empoli,

and it is the only province where the two teams have their own stadiums in different cities.

The history of soccer begins every single day, and as Argentine writer Jorge Luis Borges wrotve, “every time that a child kicks some-thing on the street…” It begins every time that fans watch and com-ment on a game. In soccer, fans multiply volume, they determine it and try to defi ne it. Given the importance of fans, it’s also important to hear their voices. Thanks to the statements of internationals visit-ing Florence, the idea of volume in soccer has taken different shades and colors. According to Shawky, a 37-year-old from Dubai (UAE), “The volume in soccer means everything that surrounds it; soccer acts as a social network, creates a network of friendships, and unites peo-ple of different nationalities that support a team.” Moreover, Scott, 26, from Manchester (UK), says that the relationship between vol-ume and soccer “is the ability to overcome cultural and language barriers, because in soccer we speak one language, the universal lan-guage of the game.” For Laura and Jorge, 22, from Soria (Spain), vol-ume in soccer amounts to “the number of people watching a game.” From a professional standpoint, Fabrizio Polloni, former pro player and current coach of the Florentine team Audace Legnaia, defi nes his coaching technique as follows: “The fi eld is representative of vol-ume, especially for how a physical space is occupied. During the game, the athlete must have a solid perception of his body in relation to the space and move accordingly to perform the game’s actions and avoid going offside.”

Therefore, the concept of volume in soccer has two primary mean-ings, a technical and a socio-anthropological one. The fi rst is linked to the bond between the player and his plane of action, the second involves the diverse individuals who share a passion for the same sport, those who travel around the world just to watch a game and interact with other fans from different backgrounds and cultures. And it is precisely in this moment where the two meanings come together to generate a greater volume made up of acoustic intensity and impact on society. This volume produces a deeper resonance, it is not quantifi able, it multiplies daily, and reaches all corners of the globe to embrace millions of fans around the world.

ENVIRONMENT

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Panoramic view of Peccioli from Belvedere S.p.A. The Torre Campanaria bell tower was designed in 1885 by the architect and engineer Luigi Bellincioni (Pontedera, 1842-1929).

The impact of the landfi ll on the surrounding landscape.

Waste storage and disposal take place at the landfi ll. Reproduction of the post-Caravaggio painter Orazio Gentileschi's San Cristoforo in Peccioli. The original is conserved at Berlin's Gemäldegalerie. In 2011, the Peccioli art foundation created this reproduction and others of similar Tuscan artists for the town and Belvedere S.p.A.

Panoramic view of the landfi ll. The polyurethane sculpture symbolizes how energy converted from waste generates new life for mankind. Created by Gianluca Salvadori, Alessio Salvadori, and Catia Marucci, the statue weights one ton and is 6.5 meters tall.

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GIULIA BERTI, SALVATORE CHERCHI, ELIZABETH ELIZONDOPhotographs by the authors

trash in tuscanyWHEN THE BULK OF WASTE TAKES ON A MONETARY VALUE:

peccioli, pisa

Walking through the streets, carefully preserved 13th century buildings and churches blend with modern, at times fl ashy structures. We are in Peccioli, a town of 5,000 inhabitants in

the province of Pisa, famous for a signifi cantly sized landfi ll in its territory, which has transformed a village from anonymity into a national case in waste management.

At the end of the 1980s, citizens requested the closure of the town’s landfi ll, which was used as a free zone for waste storage. Meanwhile, the municipal government acted against the closure. After receiving funds from the Tuscan region, the town’s adminis-tration started an expansion of the landfi ll in order to accommo-date more waste and to draw benefi ts from it for the production of biogas. By doing so, they were able to justify the subsequent installation of double-function plant to produce electricity and hot water. The citizens, affected by a strong case of the “NIMBY Syndrome” (Not In My Backyard), were able overcome their initial doubts through an increase of transparent policy and information in order to familiarize the local community with the inherent val-ue of waste and its possible conversion into economic volume. The town’s wager was a winning one and in 1997, the management of the landfi ll was assigned to Belvedere S.p.A., a company based on a “broad shareholder base” representing both the city and its citizens. Belvedere’s high profi ts are distributed amongst its share-holders and have three main uses: maintenance of the landfi ll, tax reductions and public services (including waste, kindergartens, schools, and cafeterias) and above all, the building and mainte-nance of otherwise expensive public spaces such as the multi-sto-ry parking lot, a sports center, museums, roads, and religious and educational buildings.

The collection of Peccioli’s waste is entrusted to the citizens through curbside pickup of organic, multi-material (plastic, metal and glass, transferred to the nearby town of Pontedera for recy-cling), and the undifferentiated, solid non-hazardous urban waste used to produce biogas. Waste for biogas is transported to the ther-mal power plant, where thanks to a CHP (cogeneration, or combined heat and power) plant, waste becomes electricity subsequently turned over to the power manufacturer Enel’s network and is used to power the heating systems in the town of Legoli. The landfi ll col-

lects waste piled onto double insulation sheets covered with gravel and tires that allow waste to be compacted for volume reduction. The leachate, a polluting liquid produced by the compacting and decomposition of waste, is collected by a system of slotted pipes to be stored in special decanting tanks.

In Italy the volume of waste is of 32.5 million kg per year (ISPRA 2008). Peccioli’s landfi ll, with its 25 hectares, manages a vol-ume of 300,000 tons of MSW (municipal solid waste) per year from urban areas related to the towns of the Alta Valdera and Alta Costa (Pisa, Lucca, Prato, Florence, and Massa Carrara).

The local public opinion is divided. Those in favor argue the economic side: landfi lls are necessary, so why not take advantage of the possible economic profi ts? Those of the opposing faction be-lieve that the economic return is in decline and not as substantial as people may want to believe. Then there is the issue of revenue management: the favorable praise of public works and initiatives supported by Belvedere S.p.A, such as “A Hectare of Heaven,” the fi rst and largest photovoltaic system open to voluntary participa-tion in Tuscany, and “Rustic Plots,” which aims to restructure 40 houses on the Valdera hills.

Opponents believe that the public spaces constructed thus far are useless for a community of Peccioli’s size: the money spent on maintaining them could be invested more wisely. For example, by starting a “door to door” waste collection program or even imple-menting the “Transition Town” model. The TT model aims to de-velop a community that is self-organized to reduce consumption, waste, and pollution. The movement is present in more than 40 countries in the world, and has a singular goal: to reach a volume of zero waste by following three golden rules: reduce, reuse, recycle. Transition Towns not only want to change the way in which waste is disposed of, but also make citizens aware of the resources avail-able to them to prevent the increase of waste volume. By imple-menting the model, the towns are encouraged to seek alternative methods to increase autonomy at all levels, such as the creation of community gardens, recycling of waste materials, or simply repair-ing old items that are no longer functional instead of disposing them as waste. This system is at odds with the model adopted by Peccioli not only ideologically, but also monetarily.

From Pontedera, along the provincial road “La Fila” heading south, after passing a roundabout

planned by the Italian designer Giorgetto Giugiaro, you arrive at a small town that welcomes

visitors with a large, multi-story parking lot. Once you park the car, a panoramic elevator

takes you to a lovely town where nothing seems out of place and every view overlooking the

Alta Valdera area of the Pisa countryside asks to be admired for its picturesque beauty.

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FIRENZE IS MY GELATOTHE HISTORY OF GELATO IN FIRENZE: ORIGINS AND NEW TRENDS

Perhaps not everyone knows that gelato (ice cream) as we know it today originated in Florence during the XVI century, the pro-tagonist of the anecdote that reveals the history of this delicious

dessert is Ruggieri da Firenze, a Florentine poulterer. On the occa-sion of a culinary competition for the “most singular dish ever seen,” he prepared a dessert made of “sugared and fl avored ice water.” With this recipe, this pioneer master chef obtained an overwhelming vic-tory and a new job in the Florentine staff of Queen Caterina de’ Med-ici who married into the French royal court. Thanks to Caterina’s infl uence, the gelato recipe soon become popular throughout Eu-rope; as a matter of fact she had gelato served at all of the banquets that she hosted. It was yet again in sixteenth century Florence that the architect, sculptor and painter Bernardo Buontalenti perfect-ed Ruggeri’s recipe. He created a cream made of milk, honey, egg yolk and a few drops of wine fl avored with bergamot, lemon, and orange. This recipe is the base for the famous crema fi orentina (Flor-entine Cream) still made today by some of Florence’s best gelaterie (ice cream shops) in both the city center and greater metropolitan area of town.

As for the city center, Florence’s oldest shop still serving this delicacy is the much-loved Gelateria Vivoli. It was founded in 1932 by brothers Serafi no and Raffaello Vivoli, and it is located in

Via dell'Isola delle Stinche in the Santa Croce neighborhood. At the time gelato was made by using natural ice that come from Saltino, a small town in the mountains near the Tuscan town of Reggello. The ice was transported from the mountains to the city by night to prevent it from melting. Between the 60s and 70s, the shop was inherited by Raffaello’s son, Piero, who honored the family name by turning Vivoli into one of Florence’s best gelaterie. Vivoli to this day is a gathering spot for ice cream lovers of all ages and backgrounds where one can enjoy the original recipe of the Florentine Cream.

Another appreciated Florentine gelateria is the Gelateria de’

Neri. Located in Via de’ Neri, close to Vivoli, the shop was estab-lished in 1989. Its success is due to two main factors: the warm hos-pitality of the staff and the amazing variety of ice cream products and fl avors from classic vanilla ice-cream, hazelnut, chocolate, pis-tachio, etc., to unique fl avors such as moretto, ricotta and fi gs, and green apple. Gelateria de’ Neri also offers a wide selections of hot chocolate, warm waffl es, crepes, and yogurt. In short, the place is a feast for the appetite and the eyes!

Last but not least, another longtime favorite is Gelateria la

Carraia with locations at Ponte alla Carraia and in via de’ Benci. It is a perfect example of what happens when tradition, novelty, and passion passed on from one generation to the next come together.

“Ice cream is made to contain a great deal of air and is truly a whipped product. This air is

necessary to prevent ice cream from being too dense, too hard and cold in the mouth. The increase

in volume caused by whipping air into the mix during the freezing process is known as overrun.”

(N. Potter, J. Hotchkiss – Food Science)

SILVIA BELLOTTINICOLETTA CAVAGLIERI

NANCY PUGLISIPhotographs by AYDIN BERNA

FOOD

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Here it is possible to delight your palate with a traditional Cremose Cremosità (Creamy Creaminesses), enjoy the new fl avors such as La cupola di Firenze (the Dome of Florence), or try a single-portion sor-bet packed with an unforgettable and lightly spiced taste.

There are many gelaterie worth of notice in Florence and for those who can not resist the temptation of trying them all, fortunately there is the ultimate yearly event, the Gelato Festival. Started in 2010, this traveling ice cream expo begins and ends in Florence and lasts for more than 100 days in different European locations. The 2015 Gelato Festival began in Florence on April 30th and its cal-endar includes Milan (May 7th), Turin (June 11th), and Rome (June 18th). It doesn’t end here though: the festival will be the ambassador of the made in Italy concept abroad: London, Amsterdam, Valencia, and Madrid represent the festival’s foreign stops for the joy of both locals and Italians abroad, who will without a doubt appreciate the chance to relive the pleasures of tastes from back home.

The Gelato Festival offers guests and visitors a multitude of activities and experiences, from the gelato-tasting area featuring innovative fl avors and original combinations to the didactic area where renowned Italian chefs and ice cream makers will perform demos featuring tricks of the trade. It will also be possible to ob-serve how gelato is made in each phase of preparation thanks to

the biggest traveling gelato-workshop ever created. The workshop is an incredible chance to experience fi rst-time fl avors debuting at festival by seeing how Italian ice cream made and subsequent-ly tasting the creations concocted by the maestro gelatiere (master ice cream maker) assisted by students from Italian hospitality high schools. Another highlight of the Gelato Festival is vide variety of gelato-cocktails also available in non-alcoholic versions, for a com-plete, 360° gelato experience.

The Gelato Festival will end its European tour in Florence during October 1-4, 2015.For the latest news and information on the festival’s summer stops:gelatofestival.it

Florentine gelaterie in the historic city center: Gelateria Vivoli, Via dell’Isola delle Stinche 7rGelateria de' Neri, Via de’ Neri 9/11Gelateria La Carraia, Piazza Nazario Sauro 25r and Via de’ Benci 24r

Thanks to Caterina’s influence,

the gelato recipe soon become

popular throughout Europe.

FOOD

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The beauty in traditions lies

in the relationships built between

those that pass on the information

and beliefs and those who absorb them.

FOOD

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There is much to be learned from traditions. Though we live in a globalized world, more than ever it seems as if traditions are being lost daily despite the ease of connectivity and interaction between people from different cultures and generations.

LAUREN FROMIN100% traditionapicius conference

Photographs byDAVID WEISS

Merriam-Webster defi nes traditions as “the handing down of in-formation, beliefs, and customs by word of mouth or by exam-ple from one generation to another without written instruc-

tion.” The beauty in traditions lies in the relationships built betwee those that pass on the information and beliefs and those who absorb them. April 11th, 2015 marked the fi rst annual Teaching Traditions conference, hosted by FUA’s Apicius International School of Hospi-tality. It was a day that brought together a group of people from dif-ferent cultures and generations, with the sole purpose of passing on traditional customs and information focused on culinary arts, wine and enology, hospitality, and production methods and the impor-tance of “hospitality as the relationship between hosts and guests, which requires knowledge of cultural differences in an internation-al context and the need to be informed about which mannerisms and practices are appropriate in certain situations due to diverse customs throughout the world.

Students, instructors, food and wine producers, and the gener-al public gathered at Apicius to witness three different discussion panels from industry experts including a wine panel hosted and or-ganized by Apicius wine students, a cooking demonstration execut-ed with the help of Apicius culinary students and product demon-strations from some of Italy’s most specialized producers. The fi rst panel, This is Not a Cooking School!, led by the School of Hospitality at Penn State’s Teaching Associate Professor, Marja Johanna Verbeet-en, discussed hospitality trends and educational methods in today’s present. Director of Catering and Events of Four Seasons, Elisa Peroli, highlighted cultural standards within the industry with practice be-

ing a key to success on top of theory-based education. Two sessions were dedicated to wine, led by Salcheto General Manager Mario Tur-rini and a group of Apicius Wine Expertise Students. From the ser-vice provided to guests by hospitality students, cooking demonstra-tions and tastings cooked by culinary students and the wine panel carried out by enology students, the ‘learning by doing” approach to tradition was witnessed at all levels of the conference.

Producers of some of Italy’s most important industries were on hand to share their traditions with guests: Acetaia Malpighi repre-sented its authentic balsamic vinegar, Fattoria Paterno e Corzano handed out tastings of its cheeses - even its Buccia di Rospo (Toad’s Skin) created by mistake and now a top requested product, Riso Aquerello showed its aged carnaroli rice, Frantoio Pruneti conduct-ed tastings of extra virgin olive oils from the Chianti region, Pasti-fi cio Fabbri offered lessons on gluten and demonstrated the process of forming the pasta by hand for all to see, and the biodynamic wine estate Azienda Agricola Salcheto demonstrated its progress in sus-tainable practices and quality products. With the presence of such producers, the sheer volume of knowledge in the form of traditions was the highlight of the conference. Each brought a piece of its his-tory, customs and practices to all the students and guests who could attend this day of exchange.

FUA would like to thank all of the students and faculty members involved in the special event, to the producers who traveled to Flor-ence and presented their products, and to the guests who attended. The institution is excited to continue this new tradition and we will see you at next year's conference.

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Photos by CHRISTINA MARIE GARCIA

Ph. by MICHAEL WALDENPh. by JOHN GRELLAPh. by CHRISTINA MARIE GARCIA

A TEEMING EMPTINESSALEXANDRA LOESER

Many people might defi ne Florence by the sites of history to which millions of tourists fl ock each year. The Duomo, the Uffi zi, the Accademia, the restaurants, the gelaterie, these are the spaces that defi ne the city. This may be the case on the surface, but after having been

here for almost two months, I’ve realized that the real essence of Florence, the “volume” of the city, is the space in between - the streets, the squares, the parks, courtyards, and outdoor spaces that fi ll Florence in. Although this could be considered emptiness, or negative space, it is really where life breathes most fully. This space is owned by no one and everyone, a shared space that gathers memory and experience like a rain barrel after the storm. This is a space where Floren-tines, travelers, and tourists tread together, a space both inside and outside the city, a place to be fi lled up with the depth and breadth of the human condition.

In Piazza della Signoria, a couple wants to take a picture of themselves in front of Palazzo Vecchio, but they have no third party to hold the camera. So they ask a young girl walking by, head tucked and hands in pockets, if she would mind. She pauses with a faint smile and care-fully palms the couple’s camera, the slight bend of her pointer fi nger solidifying the couple’s memory of this place. A brief “thank you” is said, and then the girl and the couple walk their separate ways. What they can’t see are the invisible lines that stretch out behind each of them, now forever intertwined from the force of this small interaction.

All across the piazza, similar intersections occur. People walk, talk, stare, pause in their tracks, and form the backdrop of each other’s digital memories. A young man asks for direc-tions, a little girl begs for a souvenir, an older couple buys an umbrella from a street vendor. These interactions culminate and build until they become the rumble of energy that fi lls the spaces of Florence, the spaces that at fi rst glance might appear empty. Tourists fl ock to see the Duomo, but they hardly realize the sea of people they must wade through to see it; fellow tour-ists, travelers, and people who call this city their home. The volume of Florence is the spaces in between its ancient buildings, and this space is fi lled to the brim with beating hearts.

VOICES & PLACES

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The hum in the air has become common to my ears: the car engines, wheels trailing across the uneven cobblestones, tour guides spit-ting out rehearsed speeches, the chatter of the crowds of people drifting by. It is the middle of the day and Piazza Santa Croce is full of activity. I close my eyes and can feel the volume of all this commotion exploding in my ears. Every person shouts over the background

noises as if in competition. Parents scold their children to stay close to them as those same kids try to rebel and escape the tight hold they are under. Cars lightly tap their horns to the oblivious people making the streets congested. Music is heard in the distance performed by men who put their souls into it. All of this forms into a soundtrack as I try to focus on my own thoughts; how can anyone overcome this constant level of noise?

Then I notice a different type of sound. Whereas the peak of the day was an overfl ow, the morning brings peace. There is still the back-ground noise of cars, bicycles, and the few pedestrians passing through, but it is sporadic. I close my eyes again and can hear myself think. Where are all of those people now who will quickly fl ood the empty space here? The venders who during the middle of the day are actively speaking trying to sell their products are now only slowly unfolding their carts in preparation for the day ahead. This piazza will never be void of sound but for maybe just these few hours before the commotion begins, there can be a moment of tranquility. If I try hard I can hear a stillness in the air by blocking out those occasional levels of sound which was impossible to do during the day. With my eyes still closed, the longer I sit on those cool steps of Santa Croce, I feel a change in the volume. As time passes, the familiar noises start to fi ll my ears yet again slowly, but surely. I open my eyes to fi nd the venders fully set up, clusters of people making their way across the piazza, and families taking their mid day stroll throughout the city center. It all comes back and before I can think, the volume level rises to the degree that has become most recognizable to me and yet again, another day full of noise begins.

Photograph by EMILY PURCELL

SOUNDS OF THE SQUARE LIA D'AMATO

the longer I sit on those cool steps of

Santa Croce, I feel a change in the volume.

VOICES & PLACES

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A TREE IN THE FORESTGABRIELLE POVOLOTSKY

I am not an exceptionally large person. In every class picture I’ve ever been in, I can always be found in the same bottom-right corner - the space reserved for the shortest person in the class. On the mysterious universal scale of volume and relativity, I am positive my mass ac-cumulation, both literally and metaphorically, is equivalent to any other grain of sand on a beach. At any given moment, such an idea is

both comforting and terrifying. As I continue to explore a city inhabited millions of times by multitudes of people, I constantly fi nd myself looking up and comparing myself to the monumental structures around me. Among the carefully carved architecture, renowned art, and volumes upon volumes of stories interwoven in hidden archives of the city’s spirit, what is my place?

Walking through Florence while contemplating one’s place in life can prove to be a curious experience. The winding streets with similar qualities, coffee and leather aromas cloned from corner to corner, may easily prompt one to lose a sense of identity. Surely I am inside the city, as I am walking through its streets and can observe the culture around me; I am undoubtedly taking up space. Yet I also fi nd myself to be on the outside, an invisible walker next to the prestigious buildings and artists whose souls take ownership of the city.

That is, until I reach midway through a block on the street which I live. Until just now, I had been so concerned with looking up and comparing my space to that around me and I had never looked straight ahead. Now, as I walk down the block, I see an elderly man. He is holding two armfuls of groceries, and hobbles with a noticeable limp. As he comes closer, I realize that the sidewalk is only wide enough for one of us to continue on. Suddenly, it is as if the entire world has shrunk and I have never been more aware of my size. Though the moment seems to last lifetimes, in actuality, it passes in a few seconds, with me taking a simple sidestep off the curb and around the man. He smiles fl eetingly, we give each other quick, understanding nods, and that is that. There doesn’t seem to be any literal chemical reaction on the street, but the colors of the walls glow a little bit brighter, and the smells grow a tad sweeter. Perhaps my everyday actions may not spark artistic revolutions, and my presence may not be grandiose, but if the space I take up makes the city one smile richer, then maybe the chaos is worth it – and that is just fi ne with me.

There doesn’t seem

to be any literal

chemical reaction on the

street, but the colors

of the walls glow

a little bit brighter.

Ph. by CARLY SIMEONE

Ph. by EMMA ADAMS Ph. by JULIA ARTAZA

Ph. by MEGAN LOIACONO

Ph. by SAMANTHA KUGLER

VOICES & PLACES

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PIAZZALE MICHELANGELO

No matter how many times you’ve been there or brought friends visiting from out of town, that view can’t be beat. Complete with street musicians, gelato stands, and two landings to take it all in, Piazzale Michelangelo will remain a favorite in the hearts of all who visit.

10 things that never get old in florenceno matter how long you have lived here

LINDSAY KEATON

Whether you’re in town for the weekend, a few months, or for life, certain wonders about Florence never cease to amaze. You can go back over and over

again and it will be just as great as the fi rst time. Here is a list of some of those things, because no matter how long you’ve been here, they just never get old.

Ph. by JOHN GRELLA

VOICES & PLACES

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DISCOVERING DIFFERENT ARTISANS AND HEARING THEM SPEAK ABOUT THEIR CRAFT

As we all know, Florence is the heart of the Re-naissance era and the fl ourishing art has not died down since. The city is full of unique and incredibly talented artists, ranging from the caricature illustrators sitting outside the Duo-mo, to the leather craftsmen hidden away in their little shops. An example of this is the leather store, Taddei, a family-run business for three generations and counting, starting in 1937. Located on Via Santa Margherita, you can fi nd Simone Tad-dei following in his father’s and grandfather’s footsteps—meticulously working with calfskin to create unique, solid leather boxes. While the boxes are fl awless, hearing Simone speak about the process, demonstrate his techniques, and see his passion behind his craft adds sig-nifi cant value to the already impressive piece.

SITTING ON THE WALLSALONG THE ARNO

Nothing beats this way to stop and appreci-ate the day. After all, you’re in Florence! Sit-ting on the wall of the Arno provides many things, such as a beautiful view, a little bit of sun, a relaxing break, and great people watching. Every so often, I’ll catch myself speed walking to my destination when there is no reason to rush at all. I have to re-mind myself to stop and be in the moment. I suggest you try it! Take an easy stroll, park yourself on the wall, and see what you can observe about the rich city and its culture.

SEARCHING THROUGH THE VINTAGE STORES

Florence is full of vintage stores and con-signment shops that will continue to sur-prise you. Everything from high-end de-signer clothing and accessories, to the most intriguing and obscure pieces can be found in these shops. The best part is that the pieces are always changing. Each week you can discover something different. It’s like a treasure hunt, so start looking! Some per-sonal favorites are Pitti Vintage, Boutique Nadine, Elio Ferraro, and of course, FLY Fash-ion Loves You!

Ph. by the author

Ph. by ANNA LYNCH

VOICES & PLACES

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PIAZZA DELLA REPUBBLICA

Piazza Republica is a beautiful open area with a great location in between the Duomo and Ponte Vecchio. One of the most notable things about this piazza is the beautiful carousel situated in the center. It is a popular pastime for children and adults alike. What most don’t know however, is the history behind this very special carousel. The carousel is an antique from the Picci family, dating back to the early 20th century and has since been restored. Carlo Picci is part of the family’s fourth generation and currently runs the carousel with his children, the fi fth gen-eration, while the sixth generation Piccis play excitedly. The carousel has 20 horses for visitors to ride, two kings’ carriages to sit in, and features panels of paintings of different Italian cities:-Rome, Pisa, and Venice, just to name a few. It runs everyday November through May from 10am to about 8pm.

WINDOW-SHOPPING ON VIA TORNABUONI

Via Tornabuoni is notorious as a hub for all high-end designers and brands to be located on. Each window display is exceptional, intriguing, and changes frequently. Get lost in the creativity and wonder that these stores portray. I especially love that so many different brands are all next to each other. One moment you’re looking at the classic blue displays in the Tiffany & Co window, then Emilio Pucci’s bright colors and loud prints grab your attention across the way. Trust me, it’s never boring!

Ph. by CARLEY POCCESCHI

VOICES & PLACES

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SITTING IN A CAFÉ WHILE ENJOYING A CAPPUCCINO

What could be more Italian than sitting down at a cool café to simply enjoy a cappuccino? Take the time to indulge in the Italian daily practice and treat yourself to a coffee break. For a glamorous take on the Italian coffee break, try Caffè Gilli Pasticceria. Opened in 1733, Caffè Gilli is one of the oldest and most culturally rich cafes in Florence. It was a favorite meeting spot of artists like Polloni, Pozzi, Ferroni, Doni, Calignani, and Pucci. Betsey Johnson and Valentino Garavani were recently seen enjoying the cafe themselves!

BOBOLI GARDENS

A gorgeous view, sun-soaked physical activity, and lush greenery can all be experienced at the Boboli Gardens. The sprawling grounds can be explored and discovered for hours on end. There are beautiful botanical gardens, fountains, and winding pathways with vibrant fl owers, soft grass, and impressive shrubbery. It is the perfect place for a hike or an afternoon nap in the shade. Pack a picnic, bring a ball to throw around, and make a day out of it.

ESCAPING TO A WINERY FOR A FEW HOURS

In the heart of Tuscany, Florence is at no loss for quality vineyards. The best wineries are the family-run ones that have been around for generations. Castello di Verrazzano is a prime example. Dating back to the 14th century, this vineyard has been passed down through families and generations, starting from Giovanni da Verrazzano. He was a famous navigator and pioneer and even has a bridge named after him in New York. Today, the winery is run by the Cappellini family with the mission to “produce quality wines thereby evoking the harmony of Chianti Classico with its stories and tastes, involving the magic of Verrazzano with passion and friendly availability, building a sense of excellence made of uniqueness and a bit of mystery.” Make sure to escape outside the city every so often to not only treat yourself, but to immerse yourself in the incredible artisanship it takes to create wine. Want a taste of Verrazzano in the city? Check out the Cantinetta in Via dei Tavolini 18 for some of Florence’s best baked goods and light meals/snacks.

A TRIP TO FLORENTINE MARKETS

Whether it is for lunch or grocery shopping, Mercato Centrale of San Lorenzo is a bus-tling and lively place to be in Florence. Each stand has something new; fresh produce, meats, cheese, oils, and more are fi lling the air with rich aromas. It is a place packed with incredible amounts of culture and things to discover. Then, wander upstairs to a pletho-ra of delicious cooked-to-order meals from various stands and vendors. Enjoy lunch or catch a dinner upstairs, as it is open from 8pm-midnight. The Sant’Ambrogio market is similar and a favorite of many Floren-tine locals. Come experience the beautiful weather and indulge in the fresh goods sold by local farmers. There is no better way to knock out that grocery list!

Ph. by the author

Ph. by ELLIE BAER

VOICES & PLACES

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Iphoneography student Drew Mancini visited various European cities with a specifi c

scope in mind: creatively use digital media to give back to the individuals who made his

study abroad journey possible. From his starting point in Florence, he recounts an act of

appreciation that spreads in endless volumes through major European capitals.

The power of gratitude is a life-changing entity. Studying abroad and traveling through Europe has been the

best experience of my life. I am thankful for my parents, who supported me and made this dream come true.

TRAVELLING GRATITUDE DREW MANCINI

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Alexandra and Katerina met while rooming together at FUA in the Spring of 2012 and have

since launched their blog Renaissance Swag in hopes to educate young women on how to live

more authentically, challenge societal and cultural norms, and embody a deeper sense of purpose.

Photo courtesy of the authorsrenaissance swagALEXANDRA AND KATERINA MIRAS

Two friends, one idea, and a company in the making three years later all possible because of one place - Firenze. On January 25th, 2012, Alexandra Santiago and I (Katerina Miras) boarded Swiss

Air with no expectations of what could possibly happen in the next four months. Our suitcases stuffed to the brim, but our hearts open to all possibilities. It just so happened that we were seated exactly in front of one another on the plane, giving us the opportunity to get acquainted with the one another.

As soon as we landed, we were each handed a piece of paper that united us in that moment (and maybe our curly locks of hair too). Written on it was our address: Via della Stufa, 9. In the beginning, the soles of our leather shoes met with the wobbly cobblestones with uncertainty and instability. We were in a new country, new home, and around new people, we didn’t know the language, and we didn’t know what to expect, but the stability came in connecting, with our peers and one another, and embracing the Italian culture.

It was from the simplicity of the Italian lifestyle that we devel-oped our own understanding of the human body, mind, and soul. We came out feeling a bit different than we did going in. Maybe it was the beautiful architecture and art, maybe the charm and allure of Florence itself, the gildings and the embellishments, but we both can agree that while all the splendor of Florence was magical, the true charm was in the simplicity of living.

The complexity of the city however is in the structure of build-ings, the layout, the irrigation systems, the Ponte Vecchio - all of which are mathematically designed. The city itself is based on mathematics, based on volume, but the spirit of the city can never be defi ned. In a way, this mathematical foundation is what allows the spirit to fl ow through the city streets. One softly smirks at the juxtaposition realizing that the premise behind volume is certainly available to Florence as a city - buildings, layout, irrigation, sculp-ture, piazzas, churches - but the experience itself is unparalleled by anything, something that a mathematical equation cannot defi ne. No one can come up with a formula on how to experience Florence. For us, the formula is still being tested because we’re still living by the voluminous teachings that we learned while living in Florence. The volume is ever-growing. It is not just contained to one memory or a few memories, but rather the entire experience of Florence for us lives on in other dimensions...

Case in point Renaissance Swag. It was during one of our late-night philosophical talks on the steps of the Duomo in Florence that we came to understand how precious yet simple life really is when we both shared our personal experiences that almost lead us

to death. You would think it’s this part that would ignite us to do something with our life, dream higher, create more, make us more enlightened - and maybe it is always in the back of our heads as a driving force - but the truth is what really gives us fi re in the belly is the living part, and Florence exemplifi es the vivaciousness of life. We may have almost physically died, but we’ve found a trend of peo-ple who feel dead inside on more accounts than none, us included at times.

Our bildungsroman - our journey - encourages us to bring ideas and feelings and creations alive. This all wouldn’t have existed if we both weren’t roommates in Florence and if we didn’t allow ourselves to surrender to the volume that is fl owing through the cobblestone streets of Florence. We wouldn’t be here today thinking of ways to help people strive to become better versions of themselves and their highest potential. In the city of Florence, we realized, in hindsight, we became better versions of ourselves and raised our own stand-ards.

This is when our blog Renaissance Swag was born, and today, we are actively trying to take part in workshops and talks to edu-cate young women about living authentically, challenge modern cultural expectations and help women of today embody a deeper sense of purpose.

How can one not think of Renaissance when trudging through the narrow streets, breathtaking views and iconic architecture of Firenze? When you think of a Renaissance man or woman, you think of a jack of all trades - philosopher, scientist, artist, innovator, engi-neer, writer, the list goes on and on. The term “Renaissance Man” is all encompassing, bound to no limits and speaks to mastery. While we found the concept inspiring, we realized that women did not have a true place of power during the time period. Yes, women were known for their eloquence, grace, style, charm, and poise but what about the wild spirit and passion we crave today? That’s where the swag comes in. And by swag, we aren’t referring to Jay-Z. We mean confi dence, boldness, freedom and expression. So, by saying one em-braces “Renaissance Swag” what we mean is that person embodies that best of yesterday and today. Our mission is to inspire and be inspired, to embrace confi dence and have the courage to live our highest truth. We are Renaissance Women with 21st Century Swag.

Grazie mille, Firenze!

With sass and class,Alexandra & Katerina

LA PALESTRA - FUACorso Tintori 21 - FLORENCE

contact sld@fua.it

LA PALESTRA

OFFERS FREE CLASSES

WITH GYM EQUIPMENT/MACHINES

FOR STUDENTS

encourages students

to keep

a MIND & BODY

balance.

Florence University of the Arts

VOLUME

1a: a series of printed sheets bound typically in book form.b: a series of issues of a periodical.c: album.

2scroll.

3the amount of space occupied by a three-dimensional object as measured in cubic units (as quarts or liters).

4a: amount; also: bulk, mass: a considerable quantity.b: the amount of a substance occupying a particular volume.c: mass or the representation of mass in art or architecture.

5 the degree of loudness or the intensity of a sound; also: loudness.

[Merriam-Webster English Dictionary]

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