The Dolce & Gabbana woman can be defined by her willful rejection of the well-known Coco Chanel edict—preferring to put on rather than take off one final accessory before leaving the house—and the almost comically ornate jewelry on display echoed this attitude.
Held at Verona’s historic Palazzo della Gran Guardia, the seventh edition of OperaWine drew more than 2,000 invited guests from around the world, including American restaurateur and vintner Joe Bastianich, and Argentina’s Alejandro Bulgheroni, who has recently amassed a stable of wine estates on four continents, including some Italian properties.
Some 40 years of vicissitudes later, Palazzo Citterio will become part of the Brera Art Gallery with its over 6,500 square meters of modern and contemporary art. The official handover to museum director James Bradburne is expected to come in June after all the various systems installed have been tested, the culture ministry’s Lombardy region museum chief Marco Minoja said during the presentation of the restoration. Then the Brera Modern will begin being set up, with twentieth-century collections from the art gallery and such works as Carlo Carrà’s ‘Allegory of Work’, which the ministry purchased last year.
Less migrants and refugees are setting foot in Italy than in previous years but they face greater difficulties in having their requests for protection processed and in integrating into society.
This is one of the findings of the annual report presented on Monday in Rome by the Jesuit-run Centro Astalli that offers assistance and accompaniment to refugees and forced migrants.
“Once we’re dead, we’re dead. I don’t want a Japanese designer to start designing Dolce & Gabbana,” Gabbana, 55, said in an interview with Italian newspaper Corriere della Sera.
Dolce, 59, added that the pair had refused “every offer to buy the brand”.
“You can have all the money in the world, but if you are not free, what do you do? You don’t go to the grave with a coffin stuffed with money,” he said.