in­ter­view CAM­BIA­GHI wi­th M.P.C.

VOGUE Accessori - - SOME QUESTIONS ABOUT - By Ma­ri­stel­la Cam­pi

I cap­pel­li, l’he­ri­ta­ge. Le bor­se, la no­vi­tà. Un’AZIEN­DA STO­RI­CA ri­ge­ne­ra il suo dna mi­xan­do di­ver­si co­di­ci este­ti­ci

fem­mi­ni­li­tà gra­zie al ca­ri­sma di Ri­ta Hay­wor­th. At­tor­no al cap­pel­lo c’è un gran­de fa­sci­no, il sa­voir fai­re è lo stes­so dell’epo­ca. L’obiet­ti­vo è quel­lo di svec­chiar­ne l’im­ma­gi­ne, tra­sfor­man­do­lo in un ac­ces­so­rio at­tua­le, a me­tà tra moda e ar­te. «Per que­sto ab­bia­mo crea­to 5 spil­le d’oro, in­ter­cam­bia­bi­li, che per­so­na­liz­za­no ogni cap­pel­lo». Do­po l’esor­dio ne­gli Sta­ti Uni­ti, da Bar­neys, è en­tra­to in azien­da un fon­do ita­lia­no di in­ve­sti-

men­ti per fa­vo­ri­re la dif­fu­sio­ne del brand sui mer­ca­ti eu­ro­pei, giap­po­ne­se e sta­tu­ni­ten­se, ol­tre che sul pro­prio e-com­mer­ce. Me­ta pri­vi­le­gia­ta, le bou­ti­que do­ve la con­ta­mi­na­zio­ne tra bor­sa e cap­pel­lo è for­te. Per te­ne­re cal­di en­tram­bi i mo­to­ri di que­sta ri­na­sci­ta.

At the end of 2013, af­ter gra­dua­ting wi­th a de­gree in phi­lo­so­phy, a ma­ster’s in mar­ke­ting and a stint wor­king wi­th an Ita­lian de­si­gner, Mat­teo Pe­re­go di Crem­na­go de­ci­ded to re­laun­ch his fa­mi­ly’s brand, che­ri­shing the ar­chi­ves of a glo­rious pa­st: and that is how Cam­bia­ghi was re­born. The na­me is re­co­gni­zed the world over: sin­ce 1880, it has been sy­no­ny­mous wi­th hi­ghend ha­ts, whi­ch are still hand­ma­de to­day. It star­ted ba­sed on «ve­ry clear ideas of what the re­vi­ved com­pa­ny’s gui­de­li­nes would ha­ve to be, ma­king ha­ts and lea­ther goods,» he ex­plains. That is why the sub­ti­tle is “Lu­xu­ry ha­ts and hand­bags Mai­son.” The rea­son for this chan­ge in direction is Mat­teo Pe­re­go’s pas­sion for the pro­ject and in­sight in­to what the mar­ket de­mands. The but­tons to pu­sh con­cern a «concept of ap­proa­cha­ble lu­xu­ry. We ma­ke ha­ts wi­th Cam­bia­ghi ma­chi­ne­ry in our work­shop in Mon­za. The bags are ma­de in Tu­sca­ny thou­gh. But what we are try­ing to do is link up wi­th con­tem­po­ra­ry ae­sthe­tic mo­dels.» The bags em­pha­si­ze the na­tu­re of the com­pa­ny, re­flec­ting its ‘Ma­de in Ita­ly’ va­lues. «The chal­len­ge is to crea­te so­me­thing long-la­sting that, as the sea­sons pass, does not go out of fa­shion.» In the FW 17-18 col­lec­tion, de­si­gned by Emi­ly Le­vi­ne, the Gil­da bag ma­kes its de­but. It’s an ico­nic bag that ta­kes its na­me from the 1950s film, pay­ing ho­ma­ge to fe­mi­ni­ni­ty, thanks to the cha­ri­sma of Ri­ta Hay­wor­th. In terms of ha­ts, the­re is great ap­peal sur­roun­ding them, as the sa­voir-fai­re is the sa­me as it was back then. The aim is to re­new the ima­ge, tran­sfor­ming it in­to a cur­rent ac­ces­so­ry, hal­fway bet­ween fa­shion and art. «For this, we crea­ted fi­ve in­ter­chan­gea­ble gold broo­ches that per­so­na­li­ze eve­ry sin­gle hat.» Af­ter the de­but in the USA, whi­ch took pla­ce at Bar­ney’s, an Ita­lian fund in­ve­sted the brand to help them pro­mo­te the brand in Eu­ro­pean, Ja­pa­ne­se, and US mar­ke­ts, in ad­di­tion to hel­ping wi­th the on­li­ne shop. The bou­ti­ques are a pri­vi­le­ged de­sti­na­tion whe­re the fu­sion bet­ween bags and ha­ts is strong. This helps keep the en­gi­nes of ea­ch of the­se re­bir­ths warm.

In que­sta pa­gi­na. Bor­se Gil­da, pro­po­ste in vi­tel­lo con sue­de e vel­lu­to, per­so­na­liz­za­te da chiu­su­ra a gi­rel­lo di ot­to­ne. Nel­la pa­gi­na ac­can­to. Zai­net­ti Mia di pel­le, vel­lu­to e sue­de. Il se­con­do da si­ni­stra nel­la ver­sio­ne mi­ni. Tut­ti i mo­del­li con in­ter­ni in sue­de blu elet­tri­co. Col­le­zio­ne AI 17-18. Tut­to Cam­bia­ghi.

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