Untitled - Bruno Piattelli

The Italian designer, one of the founders of Made in Italy
BIOGRAPHY
Born and raised in Rome, Piattelli attended the well-known Visconti “liceo” there before continuing his studies, in law, at the Roman La Sapienza Univerity. He began his career helping in his father’s atelier in Piazza
S. Sylvestro in Rome, which, when he started, already had a select and international clientele. Within only a
few years time, Piattelli’s work was noticed by clothing and fabric manufacturers which lead to collaboration
with important domestic and international fashion houses.
Contracts were signed with: D’Avenza, Ellesse, Petronius, Lanerossi and Sanremo. He designed collections
for Burberry’s of London and D’Urban of Tokyo. He collaborated with the NASA Space Mission designing
knitwear for the astronauts. He created the uniforms for Zambia Airlines male and female flight attendants and
for the hostesses of Dunhill of London.
He made the uniforms for Alitalia’s male ground personnel and he dressed the Italian National Olympic Teams
in Mexico City in 1968 and Atlanta in 1996.
Piattelli Corners were opened in some of the most prestigious luxury department stores and shops such as
Liberty’s in London, Barney’s in New York, Louis in Boston, The Executive in Johannesburg in South Africa.
In Asia, Piattelli Corners were opened Hong Kong, Bangkok and Tokyo in Takashimaya, Mitsukoshi and Seibu luxury department stores.
An invitation from the government of the Chinese People’s Republic to do a study of the clothing manufacturing industry lead to a new adventure – a joint venture with the clothing manufacturing industry in China.
The HongDu Piattelli Textile & Fashion Co., LTD in Beijing was born.
Piattelli models are on display in the fashion sections of the Metropolitan Museum in New York and the Victoria and Albert Museum in London. Piattelli’s qualities as a designer are evident when he has dedicated his
passion and ardour to cinema and the theater.
He created the costumes for all of Marcello Mastroianni’s films and for those of many other Italian actors and
actresses (Nino Manfredi, Virna Lisi, Ugo Tognazzi, Gina Lollobrigida, Alberto Sordi, Franco Nero, Gian Maria
Volonte, Sylva Koscina) as well as for more internationally known performers (Michel Piccoli, Richard Johnson,
Mickey Rooney, Costa Gavras, Pierre Clementi, George Segal and Orson Wells).
He has worked hand in hand with film directors of the caliber of Franco Zeffirelli, Luchino Visconti and Vittorio
De Sica. A new experience for Piattelli and theater was when he used his talent to create the costumes
for Carlo Tritto’s version of the Commedia Italiana “Rosso, nero, fume”, directed by Roman Viktjuk, for the
company of David Smelianky’s Satyricom Theater in Moscow. A patron of the arts, in 2002, on behalf of
the Fondazione Roma, he founded, together with Francesco La Vecchia, the artistic director, the Orchestra
Sinfonica di Roma (Italy’s first private orchestra) of which he is president.
Publishing is another of his passions.
He has dedicated his attention in the past to the publishing of rare books about Rome and all of the arts that
have represented the city. He returned to publishing when he began to work with “Parnasso”, owned by
his friend Lino Cascioli. He returned to the publishing world in the very specific, yet universal, field of enology
(wine production) with particular attention to the domestic Italian production. In collaboration with 2 of the best
know experts in the field, Massimo Comparini and Ian D’Agata, he published the “Guida Annuale dei Migliori
200 Vini Italiani” (Annual Guide to the 200 Best Italian Wines).
The Dean of Italian High Fashion Men’s Wear
INTERWIEW
We went to interview him in his atelier (studio) in Piazza Colonna in Rome to learn more about his work and
his opinion on fashion today. On first entrance into the atelier, one cannot avoid noticing the many photos,
including many celebrities.
When did you begin working?
I come from a family which has worked in this field for generations. From my earliest days, I remember hearing
stories of the essential components of fashion: fabrics, models, style and clients.
Is there a specific moment that you began working?
As soon as I finished high school, more or less at the end of the war, I noticed that strange characters were
offering us Italian made merchandise but labeling it as made abroad. I was intriqued and decided to design
a collection and present it to the foreign market. I had begun a type of venture which at the time did not exist
but has since become an international business.
Please, clarify.
My business relations with Italian manufacturers allowed me to become a style consultant, which still today is
at the core of my work. I design collections for men and women’s wear, for a total look, for some of the most
prestigious companies in the field which then, based on licensing agreements, manufacture and distribute
the various articles under my label in the USA, Japan, Britain, France and even in China.
There is a particular incident in my past which regards me personally but also Italian fashion in general. In
1970, I met Fred Pressman, owner of the most famous men’s wear shop in the world, Barney’s of New York.
At the time, 5 floors of the building were dedicated to retail sales and 5 floors were used for alterations and
adjustments. We got along famously on our first encounter.
Our mutual respect and affection lasted until his dying day and our exceptional business relationship with
Barneys continues still today. I introduced all the Italian designers to Mr. Pressman who fell in love with Italy
and demonstrated it by opening corners for them in his new downtown store, for which I helped him design
the layout. Subsequently, Barney’s moved to Madison Avenue.
His workshop...
This is another story.
When the war was over, the film industry moved to Rome and, given my passion for cinema, my great love
affair with theater and cinema was inevitable. I have worked with all of the great directors and with the best Italian, and foreign, stage and film actors. If I were to draw up a list of their names, it would fill up a newspaper...
Among the countries you cited, there are none from the Far East.
During the years, some illustrious clients came to me privately but not with proposals that I thought I could
work with. For the record, I have to say that of all of my work with the theater, I feel honored to have made
the costumes for the cast of Carlo Titto’s commedia italiana performed at Moscow’s Satryicon Theater.
And what about China?
The Chinese government invited me to conduct a study of industrial fabric production and the manufacture
of clothing. As often happens when one encounters others with shared interests and knowledge, friendship
and collaboration result. The end result was that I helped create an extremely modern men’s wear clothing
production in Beijing and the friendly rapport created continues to this day.
SHOWROOM IN THE WORLD
KYOTO - Iseitan Store 1976
KYOTO - Iseitan Store 1976
KYOTO - Iseitan Store 1976
KYOTO - Iseitan Store 1976
TOKIO - Tokyu Store 1976
TOKIO - Tokyu Store 1976
LONDON - 1979
TOKYO - Takashimaya store - 1979
BANGKOK - 1979
HONK KONG - 1979
SWISSE - Pkz
ROME - Via Convertite 1969
ROME - Via Nazionale 1921
GERMANY- SHOWROOM
ATELIER
ADVERTISING
NEW YORK
GERMANY
FOR THE WORLD
VOGUE
Was born in Rome and taste of man. This is the story.
MADE IN ITALY
50 years of history assembled in a photo collection, newspaper articles, letters and scraps of memory. The
order of dates and vague recollection are in themselves not really important. What is important is the substance or the big picture. There is no need to read through the records, nor in my opinion for yet another fashion
biography. The dates may not be in order and some names may escape me. Rattling off episodes, names of
places and thoughts are not essential. What is important is to evoke the sensations, impressions and details
which can help understand the exciting and frenetic atmosphere in which the adventure took place.
When fashion was still based on the gossip of he seamstresses and milliners in Torino and a few others
scattered along the Italian peninsula, they chatted about the outfits in American films and tried to imagine their
colors. Who ever bothered to mention the name the costume designers of those fabulous outfits in black
and white? Then Hollywood discovered Rome and all the stars, whether they knew it or not, became ambassadors of our tailoring expertise and spread the word about Italy’s centuries old sartorial skills around the
world. The excitement rose every six months.
The presentations were no longer just fashion shows; with dozens of newspapers represented and hundreds
of reporters and photographer, the fashion shows had become “events”. Just what firms try to invent today.
“Made in Italy” was growing.
High fashion had started the whole thing but eventually it became evident that some form of organization
was needed. Paolo Marinotti had made an initial attempt in Milan by promoting, with the Centro Italiano della
Moda, the Snia Viscosa fibers. The Ente Italiano della Moda, together with the Fondazione Gianni Agnelli,
headed by Amos Ciabattoni, had kept an eye on the development and invited us all to Torino where we met
with sociologists and others in order to evaluate the current situation and prospects for the future.
The need to organize was finally satisfied with the birth of the Camera Nazionale dell’Alta Moda Italiana.
It was a period of economic growth and enthusiasm. The parameters of a “fashion system” began to emerge. The textile manufacturers, whose names until then had only been known by people in the trade, came to
the forefront (where they remain today) signing contracts with designers and supplying them with the fabrics
needed to create the outfits. The best artists sketched the models and costume designers helped make
unforgettable films, schools of fashion design
(l’Academia di Moda e Costume, la Koefia, l’Academia Altieri, Istituto Europeo del Design, l’Istituto Italiano della
Moda, l’Istituto per l’arte Orafa), with their promising young students, rose to become integral and vital cogs
of the fashion system. The more one looked around, the options seemed endless. The handwriting was on
the wall announcing a new philosophy of work.
The social phenomenon that was making our fame was at the same time becoming a subject of study at
university. The ever widening distribution of brand names was another leap forward in our evolution. Many
pattern cutters and other specialized craftsmen, in Italian called “mani d’oro” were drafted into the industry.
The world of craftsmen went into crisis as manufacturers deviated new generations from embarking on
careers of manual, yet creative, labor. Inspiration slid off of the runway and was rendered famous by every
form of communication. Only a few of us resisted, not because we thought we were better but due to our
upbringing or traditions or decision to conduct the wobbling lifeboat of high fashion through the breakwaters
of competition that, even if it was not acknowledged, owed its origins to the laws of economics and to the
changing mores of society. The film industry did not ignore us either. We flew high...as high as one could go.
From “Azzurro sotto le stelle - Storia di 50 anni di vita/moda italiana, attori, interpreti”
di Bruno Piattelli - Ed. Newton & Compton Editori
From the 1960s to today
FASHION
Fashion, when one scrutinizes its superb details, characterizes a period as much, if not more, than a piece
of furniture, a décor or an auto.
Until the immediately after the First World War, or the decade between 1920 and 30, fashion meant either
“the gentleman in sportswear” wearing a checkered Norfolk jacket, knickerbockers, knee socks and wingtips with rubber soles or, for her as well as for him, formal evening wear as one can see looking at the fashion
plates, as they were called, of the day. Shortly after, however, a new way of looking at fashion was born.
A new concept gained importance in the minds of designers, illustrators and manufacturers – production.
America, the United States, was the prime influence of social change and created what effectively speaking
became a consumer society. Every aspect (ideas, sketches, technique, publicity and distribution) got caught up in the whirl. Fashion became an instrument, even before it became a symbol, that demonstrated how
talented we were as well as giving us visibility.
My fear was that fashion’s strength was also its greatest weakness, that the commercial aspect would prevail
over the aesthetique. If you look around, one does not see the symbolic importance of fashion (because to-
day one can wear just about anything) but rather the degeneration of fashion which is based, not by chance,
on the degeneration of society in general.
Having said that, we can now summarize fashion trends, more wide-ranging when speaking about women’s
wear then in men’s wear, from the end of XXII until today.
Fashion Collection 1960 - 1970
Fashion Collection 1970 - 1980
Fashion Collection 1980 - 1990
Fashion Collection 1990 - 2000
Fashion Collection 2000 - 2010
Fashion Collection 2010 - 2015
THE 60S TO 70
Women’s wear… Sleeveless dresses, pastel colors, pillbox hats and accessories that became so important
for the ultra thin collections so effectively worn by Twiggy, Veruschka and Shrimpton. White was the dominant
color. And a new character appeared on the threshold of the fashion world. Photographers gained fame
as they immortalized the outfits worn by the nymphs and their designers - phenomena which should not be
underestimated.
Men’s wear… jeans, already essential for the young, were gaining converts among older generations. Kids
began to criticize their father’s wardrobe: “not another wool suit” or “another flannel jacket?”.
Not everyone, however, looked his best due to physique or age. People were still a bit too sophisticated in
their taste. Shirt/jackets appeared but it was still too early for the black leather blouson. The non-jacket made
its entrance into the wardrobe.
THE 70S TO 80
Women’s wear… Shirtwaists, padded knitwear worn over brightly colored blouses. Jeans were happily
worn. The cocktail dress replaced formal evening gowns – demanding but not nearly as much as its predecessor. New highly adaptable fibers and yarns, which created interesting effects , were utilized with these
sober but young at heart collections. Seemingly contradictory, extremely high fashion survived and the formal
evening gown was in big demand.
Men’s wear... exasperation and bad taste. An ugly moment for fashion, at least as far as menswear was
concerned. Jackets with exaggeratedly wide lapels, extremely wide shoulders with waists so narrow that one
had to hold one’s breath were worn over bell-bottom trousers and tight, button-popping shirts. Geometric
patterns for fabrics and knitwear were made in complicated cotton designs. But experimentation continued
and while working on constructing a jacket, we ended up creating the deconstructed jacket “désossé” – no
padding, no camelhair and no internal structure. And that wasn’t enough, we then created another jacket
(lighter than a shirt and waterproof) in the silent revolution.
THE 80S TO 90
Women’s wear... Exaggerated volume. Various types of shoulder pads in smocks, blouses and jackets.
Panno Felt was the fabric that predominated and in particular the kind that could be split into two which allowed one to eliminate linings but rendered outerwear light but with form.
Men’s wear... Tailored jackets and coats took on a wider dimension. The jacket, worn by young body-builder
types, became somewhat lanky but the proportions were not really too exaggerated. For some manufacturers, the change in style simply meant making jackets the next size up. There was a bit of confusion even
amongst those working in the industry. Knitwear became a key element of style, encouraged by technical
advances. The number of knots in knits increased and worked together to create artistic effects.
THE 90S TO 2000
Women’s wear… Voluminous cascading outfits were still the rage. Ample capes or jackets worn over voluminous flowing trousers. Dresses and complete outfits in knitwear appeared. Cold colors predominated.
The casual-chic, inspired by a quick glance at the trends in menswear, entered into the female closet.
Men’s wear… An attempt to renew jackets was made by raising the collar (sopra di collo). Lapels got shorter
but were still wide. Trousers were a little slimmer but the double-pleat fronts reappeared. Everything had to
be soft; rigid and structured garments had been banned, almost as if casualwear had completely annihilated
the classical look.
Reason for living. Love it, follow it... live it.
THEATRE MUSICAL COSTUMES FOR THE STAGES
2000 TO 2010
Women’s wear… Over the top. Dresses that swathe the figure and short skirts with built-in belted waists
creating a trapezoid look. Knitwear played a large roll and developed extremely comfortable, and youthful,
dresses and skirts. Accessories began to play a leading role; the handbag acquired a dominant position in
reflecting the overall look.
Men’s wear… Trousers regained importance no matter whether wide or tight, work clothes or not, all had
pockets, patches and decorative elements hung here and there – so much so that one wonders how anyone could possibly wear them. Tight trousers with pockets cut straight across were the dominant trend.
Suit proportion tended to revert to the classical look and winged lapels gained ground as the double breast
jackets tried to make a comeback.
2010 TO 2015
Women’s wear…despite the preponderance of bad taste, a certain linearity began to appear and the attention paid to the skirt resulted in creative effects with skirts cut on the bias and the resulting irregular hemlines.
Tailored jacket waists got slightly trimmer and the cut highlighted the refined craftsmanship and shape which
had become indispensable. It was in this context that high fashion got lost in the conflict between equilibrium
and disorder as it used refined and precious fabrics decorated with leather and fur, crystals and sequins or
alternating classic shapes with adventurous and fascinating designs. It was the 3D trend in fashion.
Men’s wear… The styles of the 70s reappeared but without the proportions. Everything was pushed
up. Jackets were shortened to emphasize the higher waistline and the lapels were almost as high as the
shoulders. A certain sense of rebellion arose, at least in my case. We renewed the classical outfit created
with a refined cuts and combinations of interesting fabrics. Jackets opted for vests and an infinite number
of pockets. Second only to boiled wool, knit-fabrics were in the forefront because they were so pliant and
comfortable to wear.
My first love.
As with almost everything else, I owe it to my father who was obsessively passionate about theater and went
to a performance almost every night of his life.
This eventually resulted in an assiduous contact with authors, actors and the theatrical environment in general. When viewed as a mirror of society, theater is not only an inexhaustible source of ideas and discoveries
but a source of subtle notions of the psyche of the society in which one lives.
The outfits play an integral, and essential, part in making the story real by helping one live, or relive, and interpret events, situations and or stories. Bruno Piattelli’s career was simultaneouw to that of the members of
the Compagnia dei Giovanni: De Lullo, Valli, Falk, Giuffrè, Albani, Ronconi, Del Prete. With the Compagnia
dei Giovani, nothing but great theatrical pieces ranging from Pirandello to the musical “Metti una Sera a Cena”
di Patroni Griffi and others...
The simultaneous evolution of daily life in parallel with that in the theater, the attraction of interpretation of the
characters, molded according to the interpretation of each director; the expression of various states of mind,
the inversion of different periods (obviously helped by the scenery) are what makes theater for Piattelli. Piattelli’s collaboration with Paolo Stoppa and Renzo Ricci and later with Vittorio Gassman and Pierpaolo Pasolini
are well-known. But one cannot forget the plays by Maurizio Costanzo with Paola Quattrini, Paola Pitagora,
Massimo Daporto, Ricardo Garrone as well as the works of Neil Simon and Piattelli’s collaboration with Lia
Zoppelli, Gianni Bonagur, Stefano Santospago, Arnaldo Ninchi, Paola Gassman and Ugo Pagliai.
Bruno Piattelli’s theatrical endeavors boast of an ample experience with domestic productions. His multifaceted interests lead him to the world of musicals by Remigio Paone and then Michele Caldieri and later
with Garinei and Giovannini. The list of actors, actresses and singers he has worked with include: Maccario,
Dapporto, Agus, Russel, Salerno, Garrone, Panelli, Noschese, Bramieri and Ghini. Memorable was the
Italian production of “Promises, Promises” with Catherine Spaak and Johnny Dorelli. His were the costumes,
designed by Coltellacci, for the production of “Ciao, Rudy” with Mastroianni.
The theater, and the world of entertainment in general, formed an integral part of his work experience, sort of
a laboratory of research in the name of fashion.
Just as one observes motors and models in a small, experimental workshop, in the fashion world one
observes and studies fabrics, how they react to the cut and lines. These one-of-a kind models, were often
exaggerated to the extreme for use in theater, but the work will also influence more routine creations to wear
in everyday life. “But don’t confuse the two” he warns, “which unfortunately happens in certain schools.”
“Imagination, and I would dare to say, exaggeration are encouraged and developed. They are reference
points for creative outlets but they should not be confused, particularly with regard to the look. Structure and
workmanship are something else. Stage outfits represent the icons of the moment, they help depict the
state of mind of a particular personality.” The exquisite and elegant costumes of those years thus represented
the society of the day. Stage clothes determined the visual impact of each play in which reality and fantasy
alternated to create the final image. Consequently, one can say that the enormous impact of the costumes
rendered each performance unique.
It’s sufficient to call to mind the outfit, created in collaboration with Pier Luigi Pizzi, for the John Gay play in
which Romolo Valli/Oscar Wilde each entered into the other’s character with just the opening or closing of
a single button.
Another example was Marcello Mastroianni’s white suit in the play Ciao Rudy. New York’s Bergdorf & Goodman was so impressed with it that it prompted them to propose a contract to license the brand which
was not possible because of my exclusive deal with Barney’s of New York.
As when recounting the life and habits of the young men with heavily starched shirt fronts in the 19th century
novels to the young Massimo Ghini on a Vespa in Roman Holiday.
The synthesis of ideas ...
CINEMA
Cinema for Piattelli gives body to the ideas of a screenwriter and set decorator and the vision of the director
by creating a synthesis of the input when defining aesthetic lines, at times using vibrant, joyful colors and at
times soft blends.Cinema is the harbinger of important social issue and ethics due to its intellectual force and
is thus the true arbiter of good taste and aesthetics. Having frequented people in the business obviously
gives one a head start when trying to create the invaluable and unique dream.
The list of easily identified and exciting names recount better than any comment Piattelli’s past, and present,
ventures. The list includes directors of the caliber of De Sica, Visconti, Petri, Monicelli, Gellini, Houston, Bertolucci, Zeffirell and Scola. And then there are the costume designers and actors like: Coltellacci, Tosi, De
Matteis and Mastroianni, Tognazzi, Segal, Caine, Orsini, Berger, Dunaway, Rooney, Belmondo, Fonda, Law,
Manfredi, Nero, Redgrave, Clementi, Melato, Chiari and Caprioli. They are all protagonists in Piattelli’s history
and for each of them he has, with passion and dedication, dressed the history of cinema.
The variations range from the futuristic track suits for Jane Fonda and Philip Law in “Barbarella” to the forty
five different situations for Monicelli-Mastroianni in “Fu Mattia Pascal. Piattelli oversaw every feature and every
detail for each and every character and occasion. His art aimed at highlighting the primary aspect of cinema
– reaffirmation of the visual instead of the narration of images “because”, as he states citing Visconti, “the infinite capacity of our eyes when focused on microscopic details perceive exactly what the detail has to offer.”
At Work
OLYMPICS - ALITALIA - CLUBS - AS ROMA
In 1968, and later in 1996, C.O.N.I. commissioned Piattelli to design the athlete’s official uniform. 1968 was
the first time ever that the world of sport, in this case the Italian national team, had turned to a designer for
its uniforms. Azure (one of Italy’s national colors) was a given. His very long cardigan, made of fabric, with a
wide white trim worn over a white shirt and trousers or skirts created a young, uninhibited look compared to
the traditional jacket.
In Mexico City, the break had been made and people would no longer forget aesthetics in the sports world.
He was again engaged to design the uniforms in 1996 for the Olympics in Atlantic City. A tiny bodice worn
over a white skirt and an azure polo with a metal belt bearing the letters ITALIA for the female athletes. The
males had white shirts and trousers and a tie with an all-over design of the Italian flag. Everyone, men and
women, was also given a very ample scarf decorated with the Italian flag.
The entrance of the Italian team in random order, and not in a regimented manner like the other teams, all
swirling their scarves in the air shouting out “Italia Italia” was a sight to be seen.
Piattelli was asked, in 1960, to create an outfit that would give a new image to the male Alitalia ground personnel in contact with the public. The image behind his idea was of a distinguished host who wants to
make his guests feel that they are with someone kind and useful – eliminating the militaristic, and until then,
typical overly dignified and intimidating type of uniform. In order to convince himself that he had the right idea,
he made a trip around the world to learn about different countries and meet their people.
Happily, he discovered that his intuition was right. People share the exact same fundamental principles on
every continent. He wanted to combine the needs of work and functionality while at the same time creating a
look not by resorting to short-lived sartorial special effects but based on the reaffirmation of classic elegance
which does not fade away with time. By following his instincts, the right effect was the result.
Piattelli made one exception in 1990.
On the occasion of the World Soccer Championship in Rome, he designed a blazer in navy blue fabric under
which one could discreetly discern the Italian “tricolore” (the three colors in the Italian flag).
Perhaps not the typical classical look but certainly in line with his fundamental concepts. Today, one can still
admire the elegance and simplicity of a unique and unmistakable style which remains the same.
To envision the determining element in a club’s image one must know its history, it there is one, and the spirit
of the role in society that it pursues, thus allowing it to involve all of its members in an ostentatious “fanaticism”.
Finding the right balance is the secret to the operation, according to Bruno Piattelli. He insists that it is essential to define the characteristics of the sports clubs various activities. To achieve the right balance, it is
absolutely necessary to combine the aesthetics of the image with the needs of the practical.
An extremely traditional “Circolo Canottieri”, in this particular case the Circolo Canottieri Aniene di Rome,
sparks a creative vein that transcends the logo and the traditional colors to create a appropriate and attractive
model, no matter whether for ceremonial occasions or for on the playing field. Bruno Piattelli’s solution was
a model that was at the same time formal but practical. Colors, which are generally those of the logo, along
with the fabric and cut, create the look of an outfit created for a person with a specific task at hand.
His garments for clubs and soccer associations are elegant yet practical and provide the best solution for
both aesthetic needs and innovation Piattelli met Vittorio Merloni, the former president of Confindustria, when
Merloni had a problem to solve – the uniforms for the crew of Futura, the boat sponsored for the America’s
Cup. Merloni commissioned Piattelli to create the uniforms for the Futura athletes when they embarked on
the prestigious sailing adventure.
An enormously popular club, in the sense that it has hundreds of thousands affectionate fans, who as we
know from sociology are blindly attracted to winning on the field. So, the attention was focused onhow to
create a young image.
For this task, Bruno Piattelli created trendy outfits for the club directors as well as for the athletes by concentrating on fabric/color with a touch of novelty in the tie and on a large scarf conceived with the female fans in
mind. The effect achieved by thousands of scarves
waving in the air created the colorful effect that Piattelli had intended. It inaugurated a joyful atmosphere which
was repeated at almost every game, imitating flag-waving medieval neighborhood tournaments in many
smaller Italian towns.
The initiative came to life in the same atelier in 1960
ART STUDIO - MUSIC - PHOTOGRAPHY - PUBLISHING
His interest in the various art trends, cultivated in visits to art exhibits in Italy and abroad, as well as his personal
reflection on the ideals and principles of the artists he had always socialized with undoubtedly spurred him to
open a gallery dedicated to the visual arts.
The initiative was inaugurated in his laboratory (atelier) in 1960. He had an ulterior motive as well for the initiative. Based on the question regarding how art was effectively presented and how it could be disseminated
and how to get people to speak about it, he realized that exhibit inaugurations are the key moment for the
production of an artist.
He or she is so happy that friends and family come to render their due, ma it is only for that one night. The
day after galleries are generally empty except for the rare visit of a tardy friend or the occasional curious straggler. But an atelier is not.
Its frequentation varies from moment to moment, however, people come to an atelier every day and what is
more important is that they form a heterogeneous group which probably is not in the habit of frequenting art
galleries. But there in the atelier, it becomes impossible not to observe, to have one’s curiosity sparked, to
ask questions, to pick something up and leave. The goal could be reached with very little effort.
On that thought, I eventually asked Mario Ciarletta, Enrico Crispolti and Bruno Corà for help.
The studio in reality created a series of retrospectives of art from the 50s to the 70s with works by Pupino
Samonà, Enrico Baj, Nino Franchina, Nuvolo, Salvatore Meo, Corrado Cagli, Fabio de Sanctis, Umberto
Mariani, Frbrizio Plessi, Mimmo Rotella, Loreno Squanci, Edgardo Mannucci, Rocco Genovese, Giorgio Facchini, Riccardo Mantero, and Marco Gastini, alternating famous names with up and coming young artists.
It became a meeting point with heated discussions in which the neighbors in nearby streets could hear the
creative bursts of art and fashion.
A philosophy of life inspired by a perennial reflection on the importance of sound and the types of sound
(calm, excited, suggestive, dreamlike, overheated or even quiescent) which influence what each one of us
thinks and does. Volumes could be filled with stories about reactions to creative output. Piattelli reminisces
that when the Fondazione Roma asked him to found a symphonic orchestra, he thought it was a dream
come true. Piattelli proposed the name of Maestro Francesco
La Vecchia, a great director and good organizer, to the Foundation’s President Prof. Avv. Emmanuele F. M.
Piattelli continued to work for the Orchestra Sinfonica di Roma.
He won the battle to get the well-known concert auditorium on the Via della Conciliazione open again for Rome’s music lovers. But he didn’t stop there. He was able to get the famous Basilica of Massenzio to open
again to the public with concerts by young musicians, winners of an international competition.
He now travels with the Orchestra Sinfonica di Rome to Berlin with a Petrassi piece, to Rio with Beethoven, to
New York with Mozart, to Madrid with Bruckner, to Pechino with Ravel, or Salzburg with Respighi, to London with
Prokofieff, Vienna with Verdi and Saint Petersburg with Marhler. And so the Orchestra has grown as it travels the
world representing art in the name of Rome and Italy, always acclaimed by the public no matter where it goes.
The reflection of the light on shimmering water, a work scene frozen in time, history when it encounters the
future, a perspective that verges on the infinite, a piece of art as it seeming falls from the sky. The famous
moment captured on film.
Bruno Piattelli’s photographic tension.
Bruno Piattelli and publishing.
Many years ago, with a journalist friend who conducted a radio program, we organized a little program based
on asking simple riddles that focused on Italian subjects (opera, popular music, historic figures or even better,
anecdotes recounted by famous people etc). The program was made for the Italians abroad. The prize for
the correct answer was a product from my atelier.
There were dozens of correct answers.
But that is not what was important. What counted was the strong sentiments, attachment and memories
that their native land evoked.
A survey could not have given more tangible and – without being rhetorical – or as moving results. I never
forgot the experience.
With techie friends of mine, we have created an agency for information and for publishing.
Now it is possible to reach our countrymen abroad using the latest technology with the most up-to-date
current news, stories, the reality of national life in Italy and inform them of publications which speak about our
work. We began with enology (wines), a subject of primary importance in our country, by editing “La Guida
dei migliori vini d’Italia” (Guide to the Best Wines of Italy). Prosit.
CONTACT
BRUNO PIATTELLI
Atelier
Piazza Colonna 355
Palazzo Ferraijoli,
00187 Roma
[email protected]