Luxury

Italian Fashion Today: Florence and Rome as Style Centres

Abstract

Paris, New York, London, Tokyo and Milan are all still considered to be the world’s dominant fashion capitals in 2018. These cities are internationally recognised as having a major influence in setting the trends and styles in the fashion world and in having a global impact on the economic success of the fashion industry. While these fashion capitals have rotated in importance historically, their modern pre-eminence is undeniable. Rome and Florence may not currently rank in this premier league of fashion cities but it will be the contention of this report that both cities have had and continue to have a significant impact as style centres, particularly within Italy.

The purpose of this report is to test this proposition that Rome and Florence continue to be relevant and influential both in Italy and internationally as style centres. The report will analyse what considerations or measurables should be taken into account when determining what makes a city a style centre, and what makes such cities important to the fashion industry and consumers.

Having researched and reviewed current and recent literature on Rome and Florence, and their history as influential fashion centres within an Italian and global context, the report will seek to argue for these two cities´ continued importance and relevance to the fashion industry as style centres.

The report also tested this hypothesis of Rome and Florence´s continued relevance by conducting a survey of both consumers, current fashion students and industry insiders and by undertaking further qualitative research in the form of an interview with a current industry expert. The report’s methodological analysis was based on a survey sample of 191 respondents, via social media and email. The scope included both the general public (96 respondents) and another set comprising fashion students and industry insiders (95 respondents), to see how the two groups’ perceptions of Florence and Rome as style centres differed within these data sets. All ages and genders were targeted to reflect all demographics and the variety of the industry.

The findings of this methodological research show that these cities continue to be viewed as important and relevant style centres. The survey`s results showed that consumers and industry insiders generally agreed Rome and Florence both fall within the two groups’ definition of what makes a style centre. Consumers, with less specific knowledge of the Italian fashion scene, consistently ranked Milan above Rome and Florence in importance, while still recognising their relevance. Industry insiders, with more in depth knowledge of these cities, were equally emphatic about Rome and Florence´s enduring relevance and importance. These views support this main conclusion of the report based on the review of the literature.

1. Introduction

While there may be general agreement as to the 21^st century dominant fashion capitals, there is no one satisfactory definition that determines what exactly a style centre is, as the term can be used broadly to describe the economic success and cultural projection of a city through fashion, trendsetting, style and technological innovation, or it can be simply based on the prominence of its Fashion Weeks. In the 1980s, a concept of the style centre emerged that challenged the traditional understanding of a fashion capital. Often smaller in scale, and with more local markets, style centres were seen more as influencer cities, with more personality or niche appeal. Through examining fashion in Italy in general, and particularly through the evolution of the fashion business model of ‘Made in Italy’ this report will evaluate how Rome and Florence have sought to establish themselves as influential style centres, reestablishing their positions of importance in the Italian and global fashion scene.

2. Theoretical Context

The Italian fashion, textiles and accessories sector is enormously important to the Italian economy. The Confindustria Moda is the third biggest industry in Italy, with 67,000 companies, employing 580,000 people. It is an industry based upon a long and influential history and tradition yet inevitably facing generational, technological and global changes. Its fashion centres have also had to change and evolve, and over the course of the last century, both Florence and Rome have lost ground to Milan but still have remained relevant.

`Made in Italy` is now the basis for the highly successful coherent concept of Italian fashion, worth annually 88 billion euros. It was a concept deliberately marketed on centuries of cultural heritage, craftsmanship and exclusivity: a cultural projection as well as a business model, through which Italian manufacturers and designers could promote and export their fashion apparel, leather goods and accessories. Yet Italian influence on the global fashion scene predates the term ‘Made in Italy’, as the importance of Italian culture and fashion span many centuries. `Made in Italy` today represents the accumulation of centuries of cultural and creative excellence, heritage and tradition,   where art and culture are the backdrop to daily life, and fashion is seen as one of the nation’s key artistic and creative forms of expression.

Hypothesis:

What arguments can be made to support the idea that Florence and Rome are style centres?

What elements do they possess which ensure their continued success as style centres?

What conclusions can be drawn about their contribution to the overall context of the Italian and global fashion industry?

2.1 Florence and Rome’s Evolution as Style Centres

The importance and influence of Italian history and culture on the fashion industry are clear in any overarching view of its evolution. For Rome and Florence the ancient Roman world and the Renaissance are key cultural and historical backdrops which have shaped and continue to shape their fashion aesthetic. These huge historical and cultural periods are woven into the DNA of Italian national life and its fashion industry.

Underpinning this rich cultural heritage is the equally rich tradition of Italian craftsmanship. Generations of artisans in shoe making, textiles, tailoring, jewellery and many other artisanal small businesses have been the backbone of the Italian fashion industry for centuries. The mercantile and banking success of Florence in its heyday under the Medicis from the 15^th century paved the way for Florence to become a major centre for jewellery craftsmanship, production and trade which it still enjoys to this day.

Indeed the Italian Renaissance from the 14^th to the 17^th centuries established Italy as the leading influence on fashion in Europe. Italy also produced the best silk in Europe during this period, and its textile industry established its reputation then for quality and craftsmanship which persists to today (Okonkwo, U. 2007).

The reputation of Italian fashion and elegant taste as a concept can be traced back to 14^th century Florence. For elite families who resided in Florence at this time, appearance and exhibition were intrinsically linked with identity and status, and for affluent Florentines who were obsessed with looking good, fashion and elegant attire were vital to their projection of power, status and wealth. The Renaissance period, and the emergence of an aristocracy with lavish and expensive tastes, delivered an elite group of city dwellers as fashion conscious and demanding as that of today’s celebrities and their followers.

The appeal of Italian design diminished briefly after the demise of the Venetian Empire in the late 1790s, and a period a political turmoil followed. This, in turn, led to the rise and adoption across Europe of French fashion and haute couture. Demand did, however, increase again in the latter part of the nineteenth century as Italian fashion experienced a revival. (Okonkwo, U. 2007) The designers credited with this revolution were Gucci, Prada, Salvatore Ferragamo, and Ermenegildo Zegna and later Dolce & Gabanna, Giorgio Armani and Gianni Versace. The cultural nexus and inspiration for some of these designers and their now world famous brands, was Florence, owing to its reputation as a style centre.

The patriarch of the Gucci dynasty, Guccio Gucci, a Florence native born in 1881, was the son of an Italian leather goods artisan. Having travelled extensively in his youth, he returned to Florence in his early forties, with the view to creating a collection of high quality leather goods himself. With a great appreciation of fashion and style, and a unique insight into Italian craftsmanship, often drawing inspiration from horseracing, he founded his first Gucci shop in Florence in 1921. Starting with shoes, luggage accessories and handbags, the brand soon become synonymous with high profile celebrities of the era, leading eventually to the opening of Gucci stores overseas and to it becoming one of the most profitable Italian fashion houses today.

Gucci’s products symbolized the exclusivity and ideal souvenir d’Italie of international jet setters, expanding to Rome in 1938 with the opening of its Via dei Condotti boutique, and solidifying its status as an iconic fashion brand. After the death of the designer in 1953, the brand was led by his sons, who, with the same vision and passion as their father, greatly contributed to the fashion house’s development. By the 70s with the growth of prêt-à-porter and the opening of a grand scale factory in Scandicci, outside Florence, Gucci’s products,  now emblazoned with the double G logo or with a Gucci red and blue motif, became the must-have items of the moment. Never straying far from its roots, in 1981 Gucci staged its first runway show in Florence setting the stage for the luxury brand´s global domination and exploiting the brand´s home city, as one of the major style centres of the world. (Pizzi, S. Year Unknown)

At the same time Salvatore Ferragamo, an Italian native who had studied his craft in the USA, returned to Florence to open a workshop in 1927. Much like Gucci, the shoe designer, quickly achieved worldwide fame. Having already worked in the cinema industry for The American Film Company, Ferragamo had quickly developed a reputation for being the ‘shoemaker to the stars’. From the outset, the designer demonstrated remarkable talent for technical research accompanied by an inspired choice of materials such as crystals, feathers and the skins of kangaroo, antelope, and fish. But it could be argued that his real creative flair came to fruition in Florence, when in the economic crisis of 1929 the shortage of available raw materials unleashed Ferragamo’s true talent for design. This resourceful and innovative ability to produce pioneering designs that were both stylish and practical, led Ferragamo to create the cork heel in 1938, resulting in the first patent in fashion history (Spena, C. Unknown).

Due to the success and unrivalled reputation of designers such as Gucci and Ferragamo, Italian accessories, and particularly those from Florence, became renowned for high quality, versatility and the epitome of style. As a result, the accessories business flourished and Italian brands began to capitalize on the export trade to the United States, which led to the success of Italian fashion internationally. Haute Couture, however, remained the forte of the French in the early part of the twentieth century, and due to economic and political factors, Italy’s fashion industry struggled to compete. The social upheaval and economic impact of the Second World War depressed an already struggling Italian economy, setting back the fashion industry what once was thriving. While Paris emerged as the world’s leading fashion destination, Florence, Rome and Milan were still largely ignored. (Okonkwo, U. 2007)

Another contributing factor to the slow growth of the industry in this era, was that, while Paris and London were representative of fashion capitals in their countries within Europe, Italy had no one pre-eminent fashion capital but rather several cities that each contributed to the industry, and had its own specialism and associations: Florence with shoes and woollen clothing; Venice for luxury silk and leather goods; Sicily for artistic weaving; Rome for jewellery.  Nevertheless, while Italian fashion grew in the shadow of Haute Couture in Paris, it was building its own identity.

Inevitably, Italy’s inherent historical advantages would resurface and contribute greatly to the emergence of the Italian ‘look’. The existence of longstanding traditions within textile production and leather goods, together with consistently high quality tailoring and attention to detail, meant that over time Italy’s undiminished reputation for style, would guarantee its revival on the global stage. Some outstanding designers led to this breakthrough. The Spanish designer, Mariano Fortuny, living in Venice, and who created magnificent fabrics and dresses of unparalleled luxurious silks and velvets, emerged after the Second World War to bring worldwide attention to Italy. He is still recognized to this day for his timeless collections.  Helping to propel Italy into the international spotlight, Fortuny is credited with refocusing attention on Italian design and craftsmanship. Of the same era, Elsa Schiaparelli, though based in Paris, was Italy’s most famous couturier rivaling Coco Chanel. A Roman by birth, Schiaparelli even eclipsed Chanel as a symbol of style and international fame (McDowell C. 2015). Likewise the innovations of Gucci and Ferragamo had made significant contributions to the luxury accessories industry helping raise Florence’s profile as a centre of the fashion world. Such designers were often seen as the forerunners of Italian fashion who brought Italian style and craftsmanship to global attention. Their inspiration was the glorious heritage of Italy´s past and its unrivalled craftsmanship.

Following the Second World war, the Italian fashion industry, alongside the rise of ready to wear clothing production, was also boosted by post-war government policy and reforms to support the export economy. In 1949 fashion shows were held for the benefit of the international press, to showcase Italian art and culture. A pivotal fashion show in the summer of 1951 in Florence, drew in nearly 200 buyers and journalists from the U.S. placing the city forever on the fashion map (Steele V. and Carrara G. Year Unknown).

The aristocratic entrepreneur Giovanni Battista Giorgini was enormously influential in securing Florence’s place as a fashion centre, giving the global fashion press direct access to the greatest talents of the post-war years. (Da Cruz Elyssa. 2004) Showcasing some of the best tailors and dressmakers in Italy, Giovanni staged the designs of Emilio Pucci, Roberto Capucci and Sorelle Fontan (the Fontana sisters), in Sala Bianca at Palazzo Pitti in Florence, displaying the elegance of ‘Made in Italy’. Pucci’s beach and formal wear, in rich colours and original patterns, revolutionized the aesthetic of the fifties and sixties thereafter.  Likewise Capucci, who many consider to be a founder of the Italian fashion industry, for his eclectic mix of texture, fabric and colour, only achieved success after having his show in Pitti Palace in 1951 (Masotti, 2017). Still, despite their popularity, in those post-war years, the designs were significantly cheaper than those produced in Paris, and captured the attention of journalists, leading to their rapid distribution to high end US department stores such as Bergdorf Goodman and Saks Fifth Avenue. The Italian couture houses, alta mode, were also located for a time in Florence, before eventually moving to Rome, so that many of the Rome´s and international elite could conveniently shop. Rome would eventually capture the Italian haute couture market with its fashionable shops, its rich and globally alluring historical heritage: the perfect backdrop for haute couture´s unique selling points of exclusivity, longevity and classicism.

The 1950s and 60s marked a turning point for Italy and its fashion industry, and in particular for the fashion fortunes of Rome as a centre of style and elegance. With the global emergence and influence of Hollywood and cinema, a new aesthetic, and uniquely seductive Italian iconography emerged. This cultural and commercial relationship which was forged between America and Italy, would play a vital role in the post-war development of Italy and its fashion scene. The Fontana sisters opened a couture house in Rome in 1944, and would become closely associated with the glamour of Hollywood starlets (Steele, V. and Carrara, G. Year Unknown). Cinecittà studios in Rome, built in the outskirts of the city in the 1930s, became a new international film hub, and attracted all the biggest stars of the day to the city (Baker, L. 2014). After the war, Cinecittà helped the world discover not only Italy, but Rome and its people. Italian fashion had long been viewed as derivative of French fashion, but this symbiosis in the 1950s between cinema and fashion and focus during this period on Italian culture and style, led to Italy achieving its own unique identity.

Over the next 20 years, over 40 films would be made in Cinecittà. In 1953, the movie Roman Holiday, launched Audrey Hepburn’s career as an actress and as a style icon while embedding ‘the eternal city’ in the hearts and minds of international audiences. Later Fellini’s multi-award winning La Dolce Vita, put Italy, Italian fashion and Rome on the world stage, surpassing the success of any foreign film before it. Major film production companies and VIPs embraced the city, making it a thriving, major fashion capital and style centre (Dominella S. 2017). Rome and its designers began to capitalize on this success, and the alta moda houses of Roberto Capucci and Valentino Gavarni, were successful proof that Rome was now the capital of Italian fashion.  This started the enduring competition between Rome and Florence, each now with its own fashion show schedule.

Fashion and style centres all recognize the importance of fashion shows and schedules. Building on the development of Florence as a centre for fashion, the Centro di Firenze per la Moda was created to organize trade and fashion shows from 1952 to 1983 targeted at international industry buyers. From 1967 onwards, high fashion was staged from Rome, and Florence was the centre for boutique and knitwear design (Lees-Maffei G. and ‎Fallan, K. 2013). Rome responded by developing and embracing large scale commercial capabilities and operations. At a time when Milan was the financial and industrial centre of Italy, Rome started to attract new talent and fresh designers, who needed the backing of the foreign mass market to succeed in the new consumable prêt-à-porter culture. 

In the late 1960s and early 70s the democratization of fashion was changing the whole industry; street wear and accessible fashion were replacing traditional ideals about glamour. Milan offered more in terms of marketing and industrialization, yet for the haute couture traditionalists, Rome still remained the aristocratic and culturally inspiring home of fashion (Dominella S. 2017). Although still paying homage to their rich cultural heritage, there was, however, an inevitable progression towards globalization, and the creations of new designers, inspired by postmodernism and more laid back aesthetics, led to a reinvention of Italian fashion and what was associated with ‘Made in Italy’.

2.2 Contemporary Designers who have transformed Rome and Florence as style centres

The Italian look evolved, and what is synonymous with Italian style today was established by the more contemporary designers Gianni Versace and Giorgio Armani. Drawing on the fame of their predecessors and that of Italy’s fashion heritage, which focused on design, precision and artisanship, they showcased Italy’s prestige and influence on a larger scale. Their inherent ability to absorb and then reinterpret the artisanship of historic Florence, Rome and Venice, has meant that the concepts of Italian fashion have been totally redefined, and its Made in Italy stamp is now synonymous with not only quality but innovation, modernity, and pioneering technology.

Italy has proven to be a major fashion epicenter, rivalled only by France for its expertise, production values and creativity. Modern luxury brands and designers such as Bvlgari, Gucci, Prada, Franco Moschino, Gianni Versace, Emilio Pucci and Giorgio Armani have played an important role in positioning Italy, as a prominent leader, promoting fashion not only as a business and creative process, but as a lifestyle and part of a very attractive culture.

The influence of Italy’s heritage and its strong links to its past, have played a vital role in the evolution of Italian fashion, and in shaping its modernity. One such designer, who has based his career on these principles is Roberto Cavalli. Roberto Cavalli’s debut collection in 1970, of exotic prints, seductive cuts and overt Italian glamour, set a precedent for a new wave of design and red carpet exuberance. Born in Florence in 1940, Cavalli studied at the city’s Academy of Art in 1957, before deciding that textiles were his passion. Having dressed many A-listers throughout his career, the Florentine is known for not only his creativity with fabric and for demonstrating the possibilities of print, but also for his cutting edge developments, which have made significant contributions to textile technology. Like those of his predecessors, Gucci and Ferragamo, he has promoted Italy’s, and in particular Florence’s, high level of creative craftsmanship and quality on the world stage, and diversified the market. The launch of his youth line, Just Cavalli, also marked a turning point in fashion, when he applied his artistic genius to denim, creating printed jeans, the first sand blasted jeans, and inventing stretch jeans with Lycra in 1995 (Leaper, C. 2008).

In the twentieth century, manufacturers in Italy have also been responsible for most of the refined and artisan leather and fur craftsmanship (Da Cruz Elyssa. 2004). While such accomplishments are not always directly linked to Florence and Rome for modern fashion, the success of Milan and Northern Italy as major fashion production centres, has had an invigorating effect on the growth of these two cities as the homes of the Italian aesthetic and ‘Made in Italy’.

2.3 Florence and Rome: the winning formula as Style Centres

The Italian fashion model is unique. The family unit and generations of craft traditions are at the core of Italian fashion. Fashion in Italy takes its inspiration from many elements of Italian culture. It is, for instance, essential to be extremely groomed and well dressed for the passeggiata that takes place in Florence, a characteristically Italian custom of taking a daily evening stroll. For Italians and particularly those who live in Florence and Rome, fashion and lifestyle go hand in hand, and typically their heritage and culture are displayed even within the craftsmanship of the clothes making process. In Italian tailoring there are many regional differences in the tailoring details, meaning their designs are closely linked to their society. While there are numerous world renowned Italian designers, the country also possesses many highly skilled independent creators with their own specializations and specific talents. Florence, Rome and in more recent years Milan, are all important style centres in their own right, in addition to supporting each other within the country’s ecosystem of vertical integration for the production of fibre.

But while the fashion industry is strongly reliant on its heritage and artisanship, it has also embraced modern technology, innovation and state of the art production practices. Made in Italy now represents both quality and innovation in a contemporary fashion context, with Florence and Rome at its centre.

Today Florence is a mecca for the international jet set crowd, attracting young designers and concept stores. Offering bespoke clothing stores, classic boutiques and innovative modern flagships, it is also home to one of the main events of the fashion calendar. The first Condé Nast International Luxury Conference was hosted in Florence in 2015, drawing in top industry speakers. Florence celebrates contemporary fashion and provides a crossroads for both authentic time-honored Italian traditions and its new found modernity. The continued success of Florence would not be possible without Pitti Immagine. Dating back to the 1950s and the first fashion shows staged in Sala Bianca in Palazzo Pitti, the company has transitioned to Centro di Firenze per la Moda Italiana, and includes Pitti Immagine, which supports the Italian fashion system on an international scale. It operates at the highest level to promote fashion, craftsmanship and design, organizing fairs and events based on cultural relevance and research value. In 2016, it launched Tutorship to nurture young Italian talent and is committed to ‘destination Florence’ as a city for style and fashion innovation (Pitta Immagine, 2017) The Pitti fairs mark the beginning of the year for a lot of buyers and editors, due to the powerful marketing machine behind Pitti Uomo which promotes the wealth of new talent and upcoming designers from not only Italy but around the globe (Shapovalova, D. 2015).

Salvatore Ferragamo’s impact can also still be seen today. The family of the creator, opened the Ferragamo Museum in 1995 to celebrate his artistic skills and his importance in the history of fashion. The museum also collaborates with contemporary artists in a mission to promote and nurture creative talent in the city, with events linked to art and the culture of Florence. Likewise, the Gucci Museum, housed in the prominent medieval Palazzo della Mercanzia, pays tribute to the Florentine fashion house while mixing ultramodern installations and exhibitions for visitors, again to demonstrate the ongoing links between art, the city and international fashion.

The two cities now have direct links to the global luxury market, and in the 90’s there was a massive penetration of multinationals and fashion empires which secured their place not only as aspirational style centres, but now also shopping capitals as well.

Like any other major fashion capital Florence has all of the major luxury Italian fashion brands in one famous location.   Via Tornabuoni is home to the stores of Prada, Gucci, Cavalli, Stefano Ricci, Raspini and of international designers and brands like that of Alexander McQueen, Burberry, Tiffany’s. In Rome, these can be found in Via Condotti, Via Borgognona and Via Frattina, where in some of the most elegant streets in the world, one can find both Made in Italy labels, and many other renowned luxury brands.

The commercial successes of the industry in Italy are also testament to its claim as a centre of fashion. Italy is ranked within the top 5 countries in Europe for fashion distribution and retail (European Commission, 2018). In 2016, apparel exports from the country were valued at approximately 21.7 billion U.S. dollars (Statista, 2018).

The reputation that Italians are still the forerunners of sophistication and style still prevails today. While today Milan is held up often as the pinnacle of the Italian fashion scene, many have a different opinion, given Rome’s haute couture collections and countless boutiques. The ancient city, has molded Western culture for many centuries, and its history shaped the style across Europe. Hosting many influential couturiers such as Renato Balestra and Gattinoni, and home to AltaRoma Fashion Week which brings together both historic Italian fashion houses and new creative talents,  Rome not only celebrates its old school artisan ateliers but its neo couture designers, in all forms of Made in Italy. The concept of ‘fare la bella figura’ is still as alive today, as it was on the streets of Rome and Florence during the times of the Renaissance.

Methodological Research: Data Analysis and Review

Independent research in the form of a survey was conducted, to test the hypothesis of Rome and Florence´s continued relevance as style centres and the cities overall relevance as regards fashion history. The scope of the survey included both general consumers (96 respondents) and current fashion students together with industry insiders (95 respondents) to test how the two group’s compared in terms of both their knowledge or understanding of Florence and Rome as style centres and in their perception of their relevance within the fashion industry. All ages and genders were targeted to reflect all demographics and the variety of the industry.

Question 1: What do you believe makes a style centre?

They were given a choice of fashion weeks, good shopping, street style and the style of the people, style heritage, all of the above, or other.

Hypothesis 1: It is believed that more respondents will chose the option for ‘all of the above’ given that the term ‘style centre’ generally has a broader meaning than fashion capital and is more open to interpretation.A modern style centre is representative of many elements, but in chosing the option for ‘all of the above’, we can confirm if Florence and Rome are applicable as style centres, given that they each have all of the elements.

Question 2: Where do you believe is the style capital of Italy?

They were given a choice of Florence, Rome, Milan or Venice.

Hypothesis 2: It is expected that the vast majority will answer either Florence or Rome for this question given their associations with style, but the results are dependent on how respondents perceive the term ‘style capital’.  This question is intended to indicate that the phrase ‘style capital’ has a different meaning to that of a fashion capital.

Question 3: Where do you believe is the Fashion Capital of Italy?

They were given a choice of Florence, Rome, Milan or Venice.

Hypothesis 3: Unlike in hypothesis 2, it is expected that the majority of respondents will answer Milan, to test if the meaning of ‘style Capital’ and ‘fashion capital’ are one and the same or have different meaning.

Question 4:

Which city do you associate the most with Italian fashion?

Options were Florence, Rome, Milan or Venice

Hypothesis 4: It is expected that this answer will more typically be Milan, given Milan’s commercial and industry ties to fashion, however it is expected that a small number of respondents will answer Rome and Florence, and to lesser degree Venice.Alternatively, if the answers collected show Florence or Rome in the majority, this serves to prove that Rome and/ or Florence have a greater link in respondent’s minds with style and fashion, as opposed to commercialism and the fashion industry.

Question 5: When considering ‘Made in Italy’ which of these phrases do you believe applies? 

Answers could be either quality of craftsmanship, quality of material, quality of design, innovation or all of the above.

Hypothesis 5: This is to test the modern understanding of the concept ‘Made in Italy’ among consumers and fashion insiders. It is expected that the vast majority will choose between one of the first three options.

Question 6: What is most important for a style centre?

Answers could be either: Its history and fashion heritage or its future.

Hypothesis 6: It is expected that given the current modern understanding of the term style centre, most respondents will answer ‘Its history’. This will help to determine again, how both cities fall within the criteria of style centre.

Interpretation: Hypotheses vs Results.

In the targeted survey, 45.6% of respondents believed that all of the statements applied when deciding what makes a style centre. (i.e. having their own fashion weeks, good shopping, street style and the style of the people & style heritage) Second to this 18.95% answered ‘style heritage’. By comparison, in the non-targeted survey, 47.92% of respondents believed the most important factor in determining a style centre was the presence of good shopping and local and/ or commercial designers. Both answers however prove the hypothesis that Florence and Rome can be considered style centres by either definition. 

Given a choice of Florence, Rome, Milan or Venice, 48.42% of the targeted respondents chose Rome as the style capital. In the non-targeted group, 77.08% overwhelmingly chose Milan. This demonstrates the varying nature in the way that this term can be applied, and indicates that those within the industry consider Rome to be the true home of style. 

Given a choice of Florence, Rome, Milan or Venice for the fashion capital, 47.37% of the targeted group chose Rome, and 27.37% Florence, compared with 86.46% of non-targeted respondents for Milan, with Rome being selected by 17.71%. This data reflects that the meaning of ‘style Capital’ and ‘fashion capital’ are not one and the same but that the terms also have different meaning to the two data sets.

37.89% of targeted respondents associate Rome the most with Italian fashion and 84.38% of non-targeted with Milan. Proving that for those within the industry, Rome has greater linkage in respondent’s minds with style and fashion, as opposed to those who don’t work in the industry whose view of Milan as most associated with Italian fashion, is mostly due to its ties to commercialism and the fashion industry.

When considering ‘Made in Italy’ 50.53% of those in the industry consider that craftsmanship, quality of material, quality of design, innovation all apply, whereas those not tied to the industry consider that Made in Italy is most represented by its quality of craftsmanship (66.67%).

Both sets of respondents agreed that a city’s history is most important for a style centre. This means, that given both Rome and Florence’s influence on fashion history, they are well positioned as style centres.

Lastly when considering which city they associate the most with Italian fashion, 51.58% of respondents from the targeted group chose Rome, versus 80.21% for Milan in the other category.

4.Qualitative Research: Industry Expert Review

To gain further insight into how Florence and Rome as perceived within the industry today as style centres, an interview to gain qualitative research was conducted with Stylist and London School of Styling Founder, Carly Brook. Having worked for such publications as Arena Homme Plus, Chic Geek, and as regular attendee of the fashion capitals Fashion Weeks around the globe, the interviewee was targeted to provide details of the industry’s understanding of what a style centre is in 2018.

According to Interviewee C. Burke (Appendix 1), Rome’s and Florence enduring reputation for the quality of Made in Italy sets them apart as style centres. Milan stands out as the commercial fashion capital for Italy, due to the marketing and industrial forces behind it, nevertheless industry insiders such as buyers, stylists and industry professionals, know that Rome and Florence cannot be overlooked as major style centres. Rome’s longevity as the Italian home of Alta Mode is apparent, meanwhile Florence is now experiencing a revival within the industry, and its fashion week noted for its fresh and innovative designers, representing a more diverse alternative to the commercial shows in Milan. It is also clear that the concept of style centres is evolving, and those cities that earn the right to be called style centres do so by remaining relevant, not only reflecting  their fashion history but encouraging innovation and new talent.

5. Comparison and Evaluation

The initial hypotheses of this report sought to establish the credentials of Rome and Florence as style centres, evaluate their enduring appeal and analyze their future trajectories as leaders and influencers in Italian  and global fashion.

The impact of each of these cities on the fashion scene is undeniable. The designers that have emerged from both Florence and Rome, have greatly contributed to the fashion industry, modern design and the principles on which contemporary fashion craftsmanship is built. ‘Made in Italy’s commitment to rigorous design and craftsmanship, has allowed Italy to develop a reputation for excellence in design and production, revealing Italian society, its history and traditions. Florence and Rome will continue to thrive as style centres, built on their unique heritages and histories. Very few cities can compete with them in terms of cultural heritage and enduring inspiration. Their winning formula is to imbue their fashion designs with this heritage and history and to take advantage of the deep foundations of craftsmanship that underpin their fashion industry. Fashion capitals may rise and fall, depending on economic and political circumstances, markets and consumer trends. But what Florence and Rome have shown is that they have the core building blocks of heritage and traditions of craftsmanship to weather these fluctuations. 

With Milan positioning itself as a production centre for modern Italian fashion, Florence and Rome have been inspirational landmark cities essential for the growth and evolution of Italian fashion, both at home and abroad. The influence of each of these cities, both for the designers who have been born or inspired in them, is still evident today, and the prediction is that they will continue to be style centres for generations to come.

References

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Burke, C. (June 22, 2018) Email Interview.

da Cruz, Elyssa (October 2004) “Made in Italy: Italian Fashion from 1950 to Now.” [online] Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/itfa/hd_itfa.htm[Accessed 26th May 2018]

Dominella, S. (June 14, 2017) When Rome was Italy’s Film and Fashion Capital [online] iItaly.  Available at: http://www.iitaly.org/magazine/focus/art-culture/article/when-rome-was-italys-film-and-fashion-capital [Accessed 2nd June 2018].

European Commission (2018) High End Industries [online] European Commission.  Available at: https://ec.europa.eu/growth/sectors/fashion/high-end-industries/eu_en [Accessed 6th June 2018].

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Appendix

Burke, C. (June 22, 2018) Email Interview.

(I: Interviewer P: Participant)

Transcript from Interview. 

I: Have you ever attended any of the Fashion Weeks in Florence, Rome or Milan? (And if not, would you consider it? Why?)

P: Yes, I have attended Milan fashion week several times in my role as Stylist, and more recently as the owner of London School of Styling with my students, who got access to some of the shows. I would consider attending the fashion shows in Rome or Florence, but as yet I have not had the opportunity.

I: For a fashion stylist or buyer, what are the most important considerations when deciding whether or not to attend a city’s fashion show? 

P: It depends on whether I am attending as a guest to view the collections, or if I am there to work backstage. But I would say that exposure to very successful or up and coming designers is very important, and also as a stylist it helps me to keep my finger to the pulse of what trends and collections I can use in the future or draw inspiration from. It is also a great way to connect with known people in the industry or to make new connections.

I: How do you rate Rome and Florence and the reputation of their fashion weeks in terms of the exposure to the designers, the known brands and designers that attend, the possibility to discover new upcoming designers or talent, or perhaps the accessibility and status of the city?

P: I know the Rome’s fashion shows have a good reputation in the terms of Made in Italy quality and the general quality of the collections that are on show. Florence in my opinion, seems to be more known for new talent, is more trend led and will definitely be one to watch for the future. I don’t think its reputation will surpass that of Milan, but it may rival Milan soon, as it seems to be the choice for very fresh designers and buyers.

I: What do you believe makes a style centre within today’s fashion scene?

P: To me a style centre is a city or place that exudes style and culture. Maybe because of its history, or it could be because it has undergone a streetstyle movement and can offer something new and inspiring to the industry.

I: Where do you believe is the style capital of Italy?

P: For me it is traditionally Milan due to the huge industry there, but Florence and Rome are also well known for their style and contributions to the industry. Many well-known designers come from those cities, and for many they are the most stylish cities in the world due to the Made in Italy reputation.

I: What is most important for a style centre, its history and fashion heritage, or its future?

P: I would say its future. The past and heritage is very important, however the fashion industry is evolving and changing at a rate like never seen before, due to fast fashion, and the exposure of the general public to social media etc. The fashion industry now is completely different to when I started out 20 years ago, and there are many cities now that are considered style centres, that would not have been back then, due to globalization, travel and exposure. This has really enriched the fashion scene, but also has made it very competitive for cities. What is fashionable one year, might not be the next. However, there are some cities that will forever be associated with style and elegance, and Florence and Rome are two of these.

I: Which city does the industry associate the most with Italian fashion? And why is that? 

P: I would say Milan, but more from an industrial or business perspective. If I were to look for clothing to style a shoot that represents Made in Italy, I would more likely source the clothing from smaller boutiques in Florence, or from a lesser known couture store in Rome, as I feel these more truly represent Italian heritage and style. They are not so commercial but would be more true to the aesthetic.

I: When considering ‘Made in Italy’ which of these phrases do you believe applies:  quality of craftsmanship, quality of material, quality of design, innovation or all of the aforementioned?

P: I believe they are all true. The term Made in Italy, is representative of all those things.

I: What do you see as the shifting trends within fashion, as it relates to the fashion captials vs smaller style centres?

P: As I mentioned before, the industry is really going through a revolution, and I notice that with each fashion week and fashion show I attend. Smaller cities are now getting more exposure, and the major fashion capitals. Like London, New York, Milan are still hugely influential, but more buyers and stylists, and consumers as a whole, are now looking for more diversity. So people in the industry understand that luxury and commercial brands are very important but more and more consumers want more niche brands, and brands that offer new or exciting innovations, or that are sustainable, with a more engaging message. Through social media, those designers can speak to more people, and therefore, their collections can bring attention to the smaller fashion weeks, such as in Florence and Rome, and gain exposure for those cities.