Expo Milano 2015 starring the Countries from all over the world who have been invited to interpret the theme Feeding the Planet, Energy for Life. Food, a vital part of daily life for the entire world’s population and capable of uniting people of different cultures and religions, also brings with it profound concerns. Each Country, coming from their own culture and traditions, is called to question and offer solutions to the major challenges related to the future of food. Participating Countries express the meaning and content of their presence at Expo Milano 2015 through a themed concept and have the opportunity to choose between two modes of participation: by building their own exhibition space (Self-Built Pavilions) or by choosing their own space inside one of the nine Thematic Clusters.
Here some rendering of the Self-Built Pavilions of many Countries ( not in particular order )
The Exposition Site of Expo Milano 2015 is thus transformed into a mosaic of countries committed to creating awareness amongst the visitors around a theme that is crucial for future generations, making them part of a global project never seen before. 184 unique and unrepeatable days of culture and science, innovation and tradition, sustainability and solidarity in which you can find over a hundred national cuisines each with their own tastes, scents and colors.
On this page you can see a preview of those Countries which have joined Expo Milano 2015 and have already developed their theme of participation.
The European Capitals of Culture initiative is designed to:
Highlight the richness and diversity of cultures in Europe;
Celebrate the cultural features Europeans share;
Increase European citizens’ sense of belonging to a common cultural area;
Foster the contribution of culture to the development of cities.
In addition to this, experience has shown that the event is an excellent opportunity for:
Raising the international profile of cities;
Enhancing the image of cities in the eyes of their own inhabitants;
Breathing new life into a city’s culture;
Designation of European Capitals of Culture in EU Member States
Six years before the title-year the selected host Member States publish a call for applications, usually through their Ministry for Culture. Cities interested in participating in the competition must submit a proposal for consideration.
The submitted applications are reviewed against a set of established criteria during a pre-selection phase by a panel of independent experts in the field of culture. The panel agrees on a short-list of cities, which are then asked to submit more detailed applications.
The panel then reconvenes to assess the final applications and recommends one city per host country for the title. The recommended city will then be formally designated as European Capital of Culture.
The role of the European Commission is to ensure that the rules established at EU level are respected all along the way.
From designation to implementation…
European Capitals of Culture are formally designated four years before the actual year. This long period of time is necessary for the planning and preparation of such a complex event. The panel, supported by the European Commission, has a continuing role during these four years in supporting European Capitals of Culture with advice and guidance and taking stock of their preparations.
At the end of this monitoring period, the panel will consider whether to recommend or not that the European Commission pays the Melina Mercouri Prize (currently €1.5m funded from the EU Creative Europe programme).
… to evaluation of the outcomes
Each year the European Commission publishes an evaluation report on the outcomes of the European Capitals of Culture of the previous year
The initiative was developed in 1985 and has, to date, been awarded to more than 50 cities across the European Union. The 2014 European Capitals of Culture are:
European Capitals of Culture have already been designated until 2019:
2015 – Mons (Belgium) and Plzeň (Czech Republic)
2016 – Donostia-San Sebastián (Spain) and Wrocław (Poland)
2017 – Aarhus (Denmark) and Paphos (Cyprus)
2018 – Leeuwarden (Netherlands) and Valetta (Malta)
2019 – Matera ( Italy ) and Plovdiv ( Bulgaria ).
A new framework for the initiative, post 2019, has been adopted by the European Parliament and Council in April 2014. It includes the chronological list of Member States that can host the title from 2020 until 2033. Ireland and Croatia will host the event in 2020. Croatia launched its competition on 11 June 2014, with Ireland set to follow suit soon.
This new framework makes it possible for a city in a candidate country or potential candidate for EU membership to hold the title every third year as of 2021. This will be selected through an open competition, meaning that cities from various countries may compete with each other. The Commission will be responsible for organizing the competition.
The Grand Canal Hotel Aman was chosen by George Clooney and his future wife, Amal Alamuddin to host the grand celebrations organized for their wedding. According to leaked these days, in fact, the program provides that the bride accommodation in the luxurious resort while Clooney will spend the night at Cipriani Hotel that located on the island of Giudecca. The great feast that the bride and groom will give the eve of the wedding will be held in the luxurious rooms of the hotel Amal, all overlooking the Grand Canal. The Aman hotel is located in Palazzo Papadopoli, built in the sixteenth century by order of Coccina, wealthy merchant family from Bergamo, who only later sold it to Papadopoli. The present owners, the family of noble Arrivabene Valenti Gonzaga, decided in the mid-2000s renting the building because there arose a luxury hotel, the first seven-star hotel in Italy
There must be something in the water in Milan. How else to explain the groupthink phenomenon this season, when almost every other fashion show offers up its take on the looks of the 1970s.
At Etro, the proposition Veronica Etro gave was of the hippy variety with a strong Native American slant. Her clothing included a much more apparent handicraft element in the designs. It felt more organic and yet refined in all of it’s raw asymmetric edges, feather adorned accessories and woven suedes.
To The Door’s classic rebel anthem “Riders on the Storm,” Etro sent out a collection that showed that even with a theme that centered around worn in well loved, and often handmade clothing, a skilled designer could still make them look exceedingly luxe. The perfect example in this show was look 26, a kaftan dress embellished with intricate beadwork designed to mimic a Navajo Indian blanket. Beautiful too were the raw linen hand painted pieces, and the open weave woven silk sweaters.
One of the most attractive things about this show was how skillfully Etro embedded the brand’s iconic Paisley patterns into the flowing handkerchief hemmed dresses, and then faded them onto printed tank tops and rounded pants.
It’s true that the Boho heritage of the Etro house easily lends itself to the designer’s chosen theme. But it’s a testament to Etro’s talent that she was able to underplay it and blend it so seamlessly this season.
Frida Giannini, creative director for ten years designed a Gucci collection during Milan Fashion Week which looks like a treasure chest full of treasures brought from all over the world. The fashion designer admits to being inspired by the brand’s customers, people who for business or pleasure travel a lot and that enriches their own home, your wardrobe, your life with charms, souvenirs and rare pieces collected here and there. And here’s how the pieces more classic, almost taken for granted, seen by more closely and carefully, they appear as something exclusive, unique. Workmanship, materials, details, renew and make it very attractive brand and its iconic pieces.
The theme of the Ermanno Scervino collection for next spring-summer 2015 is the glamor that defined the days of this woman extremely refined and elegant. Look researched and interesting, both in tissues and in the stylistic details. The jackets are over, the high-waisted skirts are paired with micro top. The long dresses enhance the feminine silhouette gliding sensually on the body……Bravo !!!!
it’s another 70s inspired summer show to add to the long list stacking up here in Milan. But Pucci has a legitimate clam to this territory, as the late 60s and 70s was when this colorful house exploded onto the collective fashion psyche.
Let’s start with the end of this show because that was truly where this collection took off. Dundas came up with the idea of blending iconic Pucci prints with tie-dye patterns and the psychedelic poster art of his chosen era. The combination made for some killer silk maxi dresses. The designer crafted them with bold jeweled necklines that linked the fabric to the body, or stitched the silk onto beaded bra tops or simply gathered the fabric at the neck.
The Flower Power daywear was also well done. Particularly the first few white crochet looks embellished with dainty little brightly-colored flowers. The designer’s ultra slim pants and fitted flower-embellished jackets showed that Dundas could do tailoring just as deftly as he does flou.
It was a blur of accordion pleats, bright patterns and glossy python on the Roberto Cavalli catwalk on Saturday. The fast paced show looked to be going for instant impact rather than reposed reflection.
But isn’t that exactly what women go to Cavalli for- outfits that demand attention?
If the models had ever slowed down enough for more then a passing glance, guest would have been able to spot – and more fully appreciated- the designer’s attention to details and talent for complex embellishments. They surely would have welcomed a closer look at the flirty beaded halter dresses, the pleated skirts, crafted from strips of of sheer organza and the worn-in denim pieces with their strategically placed tears, backed by shimmering jacquard fabrics.
As it was, the show’s message of clothing inspired by travel to distant sunny locations was lost in the rush. Instead the collection felt more like a mishmash of different designs that Cavalli has honed and refined over the years. More a well curated wardrobe of ensembles that one could
For many seasons, Domenico Dolce and Stefano Gabbana have been milking their native Sicily for inspiration to their glorious fantasies. Not so long ago, they even staged that fairy tale on a grandiose scale in Capri. Today, although this had tenuous links to Sicily, Spain provided the same passionate Mediterranean woman archetype, and this was embodied in the fighting spirit of bullfighting and flamenco. From the heavily encrusted waist clinchers, to the blood red of carnations embroidered on lace dresses, and the ruffles and polka dots of flamenco dresses, it was pleasingly theatrical.
The embroideries on tight bolero jackets were pleasingly transcribed from the original, completed with puffy shorts in lieu of skin-tight trousers (it’s summer after all). So were the fringes of dancer shawls, swinging prettily from the summer’s cape, a shape they seem to love perennially. Quirky, and sure to please the snap-happy front row crowd, was a painterly print of bullfighting wrapping around a skirt. Collectors’ appetites will have been whetted by the dolls encased in their windowed carry-cases, figuring the archetypal Dolce & Gabbana women. Somewhere in between there were variations on their corseted black widows, and some decidedly younger transparent black camisoles worn with rhinestone heavy jeans.
As gently romantic they appear, their strength is that of a wounded bull. That contrast has always been at the heart of the Dolce & Gabbana vision of femininity, and comes back to their roots. Everywhere, silhouettes were femininely encased in either curve-enhancing (or revealing) get-ups. As always, their narrative is enriched by the superb work on fabrics and adornment, gilding any idea with the scintillating edge of fantasy. For the finale, the cadre of toreador glamazons paraded on the catwalk, offering the empowered vision of women ready to stand and grab any bull by the horns in the arena of life.