Gianluca Lo Vetro

It is a pleasure for me to write an article in the catalogue of GIULIANA CELLA, because it gives me the opportunity to make some exquisite journalistic considerations on the fashion system.

In the eighties, for an article in the magazine European, I interviewed an expert in the maintenance of footwear. With great passion, the artisan revealed a small and shrewd secret for the transport of shoes in suitcases, dissuading with scientific motivations every plastic container. At the end of the meeting, I thought about the enormous number of “totebags” signed in synthetic material that were invading the market of the total  look.

I imagined the pride with which <the new gentlemen> arranged their footwear in the synthetic “totebags” coordinated with the beauty cases, the suitcases, the suits, the socks, the underpants, etc..

The reflections on the numerous lists that suggested (and sometimes demanded) this product as <the best in life>, <the must> and <the I can’t do without> was inevitable. The slight bitter moral, considering that I lived writing hedonist handbooks: is that I myself am a victim of the prestigious plastic accessories.

I have reached the conclusion that I certain cases the added value of the signature has taken away from the quality of the fabrics to give way to the labels.

With the passing of the eighties and nineties, I believe the success of Giuliana Cella comes from her awareness of this mystification.

Most likely the pioneers of the elegance, forerunners of the signature fever, have been the first to realize that their models bought in Montenapo, were not as exclusive as they thought (and for the price paid). On the contrary, apart from being cloned in the prêt-a-porter serial and copied in versions even more modest, they were put on sale before the end of the season. To avoid unsold stock they were sold to the market for one-fourth of the price. Not to speak of the fabrics, by now manufactured on a large scale with less respect for the quality invoked by the designers. It’s with Giuliana Cella that the value seems to reincarnate itself in the threads of the design, a rare hand-made piece of antique fabric, like a collector’s rare piece of furniture to display proudly in the living room.

For this type of clientele, who asks for a refined product, there could also be “alta moda”. But since the runways have been transformed into news parades instead of fashion shows, it’s rare for a lady to find something to wear between priceless jewels and too provocative styles. In silence, in her internal Milanese shop, free from the representative burdens of which the fashion world is a victim of the signatures, Giuliana Cella seems to reestablish the taste and the correct value of the fashion. With this discipline, every piece remains unique.

Some stylist scrutinize with major attention the admiration of these  creations made by this stylist in which the daily dimension of the clothing is contaminated with the shiver of emotion from an heirloom.

It is impossible to duplicate Cella’s designs: it would be like pushing the top of the fashion pyramid down to the same level of mass production, where the fashion itself would extinguish.