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There are more real connections between design and fashion than there are between art and fashion.”It was during her initial visit to Design Miami that Venturini Fendi first met Aranda and Lasch.
Venturini Fendi is now the only member of the family still working there and she has continued to translate her spirit and wit into her creations.Although she loved to see the women of the atelier in their white coats, and even modelled for the Fendi ready-to-wear shows after Karl Lagerfeld arrived as designer in 1972, her imagination was most captured by a private salon in the downstairs boutique where evening bags were kept.She has also led the way with 'micro’ versions of the brand’s most successful styles – with an attractively more affordable price point. No, not a French baked good, but a colourful, dainty under-the-arm handbag that was the first to attract a waiting list in the days before waiting lists became a made-up marketing ploy.As Silvia Venturini Fendi puts it, she was 'born into fashion’. So I said, “Let’s do a classic bag, back to our roots but in a very Fendi way.”’'I say, “OK, maybe I do a little bag.” And they said, “Functional.” And this bag I came up with had short handles so your hands were free – that’s very functional.A more contemporary version of the Baguette, available in embellished, shearling and stud versions for an edgier lookStriking though she is, with her dramatic dark eyes and caramel bobbed hair, she is dressed in demure, masculine style – dark slacks, a striped banker shirt and a camel boyfriend cardigan. 'It is the anti-Baguette,’ she says. The designers were then installed in makeshift studios in Spazio Fendi, the former garage where the house has its fashion shows, and more than 1,500 visitors a day came to watch them work. (2015). “Dealing with one-of-a-kind design gives you a great sense of freedom,” she said. 'So they wanted a minimal bag too. Established on the Via del Plebiscito by Edoardo and Adele Fendi in 1925, it quickly earned an elegant reputation. The day after the opening of Design Miami, Venturini Fendi walked the audience through the company’s history during a panel discussion with designer Ron Arad and hip-hop impresario Pharrell Williams. 'After the Baguette, [there was] accessories fever. “You would find Nacho Carbonell using chicken wire to create installations he covered with leather. “This is my chair,” she said, taking a seat, “and this is Karl’s.
But to Venturini Fendi, inspiration is the most important by-product of her immersion in this new realm. “Their work is fundamentally important for architecture today,” said Paola Antonelli, senior curator of architecture and design at New York’s Museum of Modern Art, of Aranda and Lasch. Her white desk was covered with piles of paperwork and a pair of constantly ringing BlackBerrys. The house had expanded into ready-to-wear by the Seventies, giving Fendi an international presence. Can I do something for you?’ So they would give me a broom to sweep. People walked in and just went, ‘Wow.’ We take for granted that things are made, so to see someone welding or carving or embossing is really quite magical.”A selection of Fendi’s famous Baguettes from 1999 to 2001.A “Modern Primitives” object draped in a Fendi cover for Design Miami 2010Bianca Brandolini d’Adda with Venturini Fendi’s daughter Delfina Delettrez Fendi at the Fendi-sponsored “Design Vertigo” exhibit in Milan, 2010In the past three years, Venturini Fendi has collaborated with some two dozen designers, mounting an interactive op art installation from the Berlin-based studio Beta Tank at last year’s Salone Internazionale del Mobile in Milan, and partnering with the Gallery Fumi during the 2010 London Design Festival to present “In Every Dream Home,” a show of new work by six designers.