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Riccardo Grassi prende parte a Fashion Colloquia, incontro tra i grandi della moda ,dove ha espresso il suo parere sulla fashion week milanese e il poco spazio dedicato ai “new talent” che per questa ragione preferiscono debuttare in altri paesi

Si è appena concluso il tanto atteso incontro con alcuni dei più illustri rappresentanti del mondo della moda italiana e non solo. Un’occasione privilegiata di confronto su aspetti e situazioni che riguardano da vicino tutte le professionalità del panorama moda, una tavola rotonda per analizzare punti di forza e debolezza di un sistema – affascinante quanto chiuso, contorto e aggrovigliato – che genera indotti di miliardi di dollari e rappresenta per qualsiasi paese dell’Occidente una delle risorse più nutrite in fatto di conti di bilancio statali. Promotori dell’encounter, quattro fashion institute di fama internazionale: il London Fashion College di Londra, l’Institut Français de la Mode di Parigi, la Parsons The New School of Design di New York e la Domus Academy di Milano.

Ed è proprio nella prima scuola post-universitaria di moda e di design italiana che ha avuto luogo Fashion Colloquia, Future of the Fashion Weeks & Future of the Fashion System. Un dialogo che ha coinvolto personaggi del calibro di Ennio Capasa, direttore artistico di Costume National, Mario Boselli, presidente della Camera Nazionale della Moda Italiana, Raffaello Napoleone, amministratore delegato di Pitti Immagine, Maurizio Modica e Pierfrancesco Gigliotti, menti creative di Frankie Morello, Sara Maino, senior fashion editor di Vogue Italia, Antonella Antonelli, editor in chief di MarieClaire, Antonio Mancinelli, anche lui nella squadra di MarieClaire in qualità di senior editor, e Riccardo Grassi, scouter e owner di Riccardo Grassi Showroom; e poi ancora, operatori del settore distribuzione, docenti, trend setter e, ovviamente, studenti.

Ognuno ha espresso il suo punto di vista argomentandolo in maniera lucida ed esaustiva. Rassicuranti le parole di Boselli, che ha ribadito l’importanza per il Made in Italy di fare sistema ed essere compatto, accordandosi lucidamente, per quanto riguarda i periodi interessati dalle Settimane della Moda, con le altre organizzazioni mondiali che operano nel settore, quali il British Fashion Council in Gran Bretagna, il Council of Fashion Designers in America e la Chambre Syndacale de la Mode in Francia. Parole che hanno sollevato non poche perplessità negli altri interlocutori, a cominciare da Sara Maino, che ha sottolineato quanto poco si faccia per valorizzare la città di Milano durante le Fashion Week e renderla un luogo appetibile agli occhi di stampa e buyer stranieri; concorde Ennio Capasa, il quale ha evidenziato come siano pochi i luoghi “unici” della città a essere bagnati dal mare magnum della moda; risoluti anche i pensieri di Riccardo Grassi, che ha definito “vecchio, stantio e poco internazionale” il calendario ufficiale stilato dalla CNMI, aggiungendo che proprio per questa ragione molti giovani talenti, italiani e non, preferiscono debuttare e sfilare all’estero piuttosto che in territorio italico.

Mediatori i pensieri di Antonelli e Napoleone, che hanno lanciato messaggi d’incoraggiamento alle giovani leve e al sistema in generale, affermando che la chiave dell’internazionalità e del successo planetario si conquista dando vigore a quelli che sono da sempre i punti di forza del Made in Italy: il know how artigianale, l’eccellente fattura dei tessuti e la sapiente ricerca stilistica. Soltanto così l’Italia, e ovviamente Milano, potrà appropriarsi nuovamente del titolo di prima capitale della moda al mondo.

Una cosa è certa: la difficile contingenza economica, a detta di tutti, non ha portato con sé soltanto strascichi di organizzazioni fallaci, errate valutazioni di mercato e imbarazzanti lacune della macchina del potere. La crisi comincia a dare, e darà, l’occasione a coloro che sapranno sfruttare tale momento di instabilità di far esplodere il proprio talento, le proprie doti creative. Anche se, ed Ennio Capasa ne è certo, non basta essere giovani per ritenersi investiti del sacro fuoco della genialità, ci vogliono sacrificio, sudore, studio e – si sa – tanta fortuna. Oltretutto, in un periodo in cui ogni cosa è copiabile e ricopribile nel tempo di un semplice clic, soltanto chi regalerà al consumatore finale l’oggetto o il capo che più desidera, nella forma e nei termini in cui questi lo ha immaginato, avrà in pugno il segreto del successo. E di fatto si finisce sempre lì, miliardi di dollari e migliaia di persone che lavorano per costruire ciò per cui la moda è nata, di cui essa stessa è unico interlocutore, abile simulatore e dissimulatore, estasi e malattia: il sogno.

(Antonio Moscogiuri Dinoi)

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