Beppe Modenese, Creator of Milan Fashion System, Dies at 90

Honorary president of the Italian Fashion Chamber, Beppe Modenese, attends a news conference in Milan, Italy, Tuesday, May 31, 2016. (AP)
Honorary president of the Italian Fashion Chamber, Beppe Modenese, attends a news conference in Milan, Italy, Tuesday, May 31, 2016. (AP)
TT
20

Beppe Modenese, Creator of Milan Fashion System, Dies at 90

Honorary president of the Italian Fashion Chamber, Beppe Modenese, attends a news conference in Milan, Italy, Tuesday, May 31, 2016. (AP)
Honorary president of the Italian Fashion Chamber, Beppe Modenese, attends a news conference in Milan, Italy, Tuesday, May 31, 2016. (AP)

Beppe Modenese, the force behind the coalescence of Italian ready-to-wear fashion in the northern city of Milan, has died. He was 90.

Modenese died Saturday in the fashion capital. No cause of death was given.

Dubbed “Italy’s Prime Minister of Fashion” in 1983 by Women’s Wear Daily, Modenese remained a front-row mainstay into recent seasons, maintaining the official title of honorary president of the Italian fashion council, the Italian National Fashion Chamber. An impeccable dresser, he was known for one extravagance: red socks.

“Beppe Modenese contributed like no one else to the birth of the Italian fashion system,’’ fashion council president Carlo Capasa said in a statement. “We lose a reference figure and an icon, many of us also lose a generous friend. We will miss his intelligence and elegance, his sense of humor, and his wit, but Beppe leaves us a great legacy to honor.”

Modenese started his fashion career in the 1950s in Florence, working with Giovanni Battista Giorgini to organize the first Italian runway shows in Florence in the early 1950s, as Italian fashion began to gain an international following around such houses as Emilio Pucci and Roberto Capucci.

He was instrumental in later moving the center of fashion gravity from Florence’s Pitti Palace to Milan, persuading such founding fashion names as Missoni to make the transition, and sharing a lifelong friendship with the late founder Ottavio Missioni and his widow, Margherita.

He was among the founders of the Italian High Fashion Syndicated, which later became the Italian National Fashion Chamber, which he led for many years. During his tenure, runway shows were concentrated in the now-old Milan convention center, but now have since decentralized to locations throughout the city, with many designers constructing their own venues.

As the head of the fashion council, Modenese discovered many talents, notably Domenico Dolce and Stefano Gabbana, who made their Milan runway debut in 1985.

The Amazon Prime series, Made In Italy, includes an episode focusing on another important chapter in his career promoting Italian fashion as a system, his organization of Idea Como, which he engineered as a place for designers and textile makers to meet.

Giorgio Armani recalled their early days in Milan, both as outsiders, Armani having arrived from the Lombardy province of Piacenza and Beppe from the neighboring Piedmont region.

“This perhaps gave us more enthusiasm, a desire to invent a life and a job that we tried and tested, day in, day out,” Armani said in tribute. “Beppe dealt with public relations with the elegance and taste that everyone has always appreciated, but also with a different organizational and, I would say, political vision. A system had to be organized: the pret-a-porter system, and he did it so well that it still bears his mark today.”

Modenese was also remembered by conductor Riccardo Muti, who wrote in a tribute published in Corriere della Sera, that he got to know the fashion protagonist during the two decades that Muti was music director of La Scala, which Modenese frequented.

“After the performances we would go to their Milan home for extraordinary evenings, both for the quality of the guests and conversations, both deep and light, full of irony and humor," Muti wrote, adding that Modenese was “a great music lover, who never missed the Ravenna Festival,” founded by Muti's wife.

Modenese will be buried in his native down of Alba, in the neighboring region of Piedmont.



Invited to the Met Gala, Nothing to Wear? Hint: Find Yourself a ‘Superfine’ Suit

 Designs by Jacques Agbobly, left, and Jeffrey Banks, intended for the upcoming Costume Institute exhibit, “Superfine: Tailoring Black Style," appear in the installation room at the Metropolitan Museum of Art in New York on March 20, 2025. (AP)
Designs by Jacques Agbobly, left, and Jeffrey Banks, intended for the upcoming Costume Institute exhibit, “Superfine: Tailoring Black Style," appear in the installation room at the Metropolitan Museum of Art in New York on March 20, 2025. (AP)
TT
20

Invited to the Met Gala, Nothing to Wear? Hint: Find Yourself a ‘Superfine’ Suit

 Designs by Jacques Agbobly, left, and Jeffrey Banks, intended for the upcoming Costume Institute exhibit, “Superfine: Tailoring Black Style," appear in the installation room at the Metropolitan Museum of Art in New York on March 20, 2025. (AP)
Designs by Jacques Agbobly, left, and Jeffrey Banks, intended for the upcoming Costume Institute exhibit, “Superfine: Tailoring Black Style," appear in the installation room at the Metropolitan Museum of Art in New York on March 20, 2025. (AP)

What’s in a suit?

According to curators busy prepping the newest Met Gala exhibit, a whole lot more than tailoring: history, culture, identity, power and, most of all, self-expression.

“Superfine: Tailoring Black Style,” this year’s spring show at the Metropolitan Museum of Art’s Costume Institute, will be launched as usual by the star-packed Met Gala a few nights earlier, on May 5. It’s the first Met show to focus exclusively on Black designers, and the first in more than 20 years to have a menswear theme.

As always, the exhibit inspires the gala dress code, and this year’s — “Tailored For You” — makes clear that guests are invited to be as creative as possible within the framework of classic tailoring.

In other words, expect a lot of great suits.

“Everything from Savile Row to a track suit,” quipped guest curator Monica L. Miller, a Barnard College professor of Africana studies, considering the versatility of a suit. She sat recently in a conference room at the Met with photos and notes plastered on the walls. She was in the middle of writing descriptive labels for the more than 200 items in the show — an exhaustive (and exhausting) task.

The suit, Miller said, “represents so many things.” And tailoring, she added, is a very intimate process.

“It’s not just about getting a suit that fits you physically,” Miller said, “but, what do you want to express that night?

It was Miller’s 2009 book, “Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity,” that inspired the show and led Andrew Bolton, curator of all the blockbuster Costume Institute shows, to bring her in as guest curator. The show uses dandyism as a lens through which to explore the formation of Black style over the years.

“Dandyism was about pushing boundaries,” Miller said.

Behind her, a section of wall was devoted to each of the 12 themes that divide the exhibit: Ownership, presence, distinction, disguise, freedom, champion, respectability, jook, heritage, beauty, cool and cosmopolitanism.

The early sections will begin with the 18th century and focus more on historical artifacts, with later sections looking at the 20th century and beyond. In addition, each section will begin with historic garments, accessories or photographs, and end with contemporary fashion.

Getting the first look at all this, on the traditional first Monday in May, will be a high-powered crowd from the worlds of entertainment, fashion, sports and beyond. Gala co-chairs this year are musician-designer Pharrell Williams, Formula 1 star Lewis Hamilton, actor Colman Domingo and rapper A$AP Rocky; NBA superstar LeBron James is honorary chair.

If that weren't enough star power, this year, there's an additional host committee with athletes like Simone Biles and Jonathan Owens, Hollywood figures like Spike Lee and Ayo Edebiri, musicians like Janelle Monáe and André 3000, author Chimamanda Ngozi Adichie and other artists, playwrights and fashion figures.

They and other guests will be free to tour the exhibit before the lavish dinner begins. This year, exquisitely tailored celebrities will examine other examples of exquisite tailoring — as well as historical artifacts like a horse jockey uniform worn between 1830 and 1840.

In an installation room late last month, a museum staffer worked painstakingly on restoring those jockey trousers, a pin cushion at the ready. Near her, two items were already hanging on mannequins. One was a classic Jeffrey Banks suit from 1987, a double-breasted jacket and trousers paired with a dapper plaid wool coat, the ensemble finished off with a light pink tie.

“See how the coat and suit play off each other,” noted Miller.

Next to it was a very different kind of suit — a denim jacket and trousers embellished throughout with beads — by a far less widely known designer: Jacques Agbobly, whose Brooklyn-based label aims to promote Black, queer and immigrant narratives as well as his own Togolese heritage.

The show makes a point, Miller said, of highlighting designers who are well known and others who are not, including some from the past who are anonymous. It will veer across not only history but also class, showing garments worn by people in all economic categories.

Because there are not many existing garments worn or created by Black Americans before the latter part of the 19th century, Miller said, the early part of the show fills out the story with objects like paintings, prints, some decorative arts, film and photography.

Among the novelty items: The “respectability” section includes civil rights activist W.E.B. Du Bois’ receipts for laundry and tailoring. “He’d go to Paris and London, he would visit tailors and have suits made there,” she said.

And the “jook” section includes a film clip of the tap-dancing Nicholas Brothers — who in 1943's “Stormy Weather” produced one of the most astounding dance numbers ever to appear on film.

“We wanted to show people moving in the clothes,” Miller explained. “A fashion exhibit is frustrating because you don't see people in the clothes.”

Miller wondered aloud whether there might be a stretch material in the pair’s tuxedos (they perform multiple splits coming down a staircase). She also noted that the tuxedo, like the suit in general, is a garment that cuts across social categories. “If you are at a formal event the people serving are also in tuxedos, and sometimes the entertainment is in tuxedos, too,” she said.

“It's a conversation about class and gender.”

The exhibit opens to the public on May 10 and runs through Oct. 26.