The location is the mythical Cinecittà, which we all hold dear in our hearts and imaginations, for the many films it has seen born, in the post-war period and the 1950s, called periods of great development and economic miracle, but in reality, of biblical migrations from all regions south of Naples, including the islands.
The years of neorealism and Italian comedy, in black and white, with glimpses of Ferrania colour and Technicolor, which heralded the Dolce Vita and the epic of Via Veneto, with paparazzi and divas on Roman holidays and jobs. With the sixties, poverty, myths, and dreams were consumed, and a long period of stagnation began, where neither Gassman, nor Sordi, nor Fellini, nor Antonioni emerged anymore; and thank goodness for Verdone. Cinecittà narrowly avoided becoming a mega shopping centre, with a few snippets of “As If We Were There”. Fortunately, the disaster wasn't total, although the past is past and only a little remains of cinema, television, dubbing, and a few dreams.
Some wonderful news, fortunately, comes from Roman haute couture, which has chosen it to parade this July, during a period of interpersonal distancing, which in the prevailing “Italianese” has become “social”, which has nothing to do with it and is another thing entirely. Italian stylistic strength parades, stretching between Rome, Florence and Milan, perpetuating a leading role which sees major names and young talents pass by, but above all a system, an organisation, an excellence that has no flaws or dark corners, an ambassador of an unparalleled history and present-day Italy, with “Fashion Hub”, “Who is on next?”, “Showcase Roma”, and "Portfolio Review". In other words, the core values of made in Italy: fashion.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
Italiano 
English (UK)