SAMIA: UN ABITO PER TUTTE LE DONNE
The idea of organizing a fashion exposition in Turin was likely the brainchild of Vladimiro Rossini, director of the Ente ita- liano della moda (Italian Fashion Institute). During one of the legendary Florentine haute couture fashion shows organized by Giovanni Battista Giorgini, he took a cue from fashion jour- nalist Mildred Kador who said: “We Americans are interested in Italian haute couture but we want to see clothes that are within the reach of all women!” While Giorgini introduced haute couture from Italian artisans to America, it was Turin’s Samia, Salone Mercato Internazio- nale dell’Abbigliamento (International Clothing Exposition), that encouraged the development of prêt-à-porter in Italy, targeted at both domestic and export markets. By the mid 1950s, the number of Italian clothing companies was boo- ming, and they were looking for a new set of tools and strategies to help them grow. On 24th November 1955, Samia premiered at the Salone del- le Esposizioni in Turin to promote sales and increase Italian prêt-à-porter production. The initiative was sponsored by the Italian Fashion Institute and ran semiannually for the next twenty years: in November to show the springsummer collections and in April for the fall-winter ones. By coming to- gether this way, Italian manufactures could meet regularly with buyers and recognised fashion journalists to better un- derstand the needs of their customers. Looking back at the history of this initiative, a defining moment in the birth of Italian prêt-à-porter fashion, one can see now-forgotten houses like Schostal and Rosier from Milan, Turin Moda and Viky’s from Turin, as well as those still working to this day: Colmar, Luisa Spagnoli, Marzotto, Max Mara, Missoni, Krizia and Herno. Many foreign houses also took part including Pierre Balmain, Jacques Esterel, Jacques Mer- cier, Elsa Schiaparelli from France, Normann Hartnell “tailor of Royal appointment” and Digby Morton from England.
SAMIA: UN ABITO PER TUTTE LE DONNE
The idea of organizing a fashion exposition in Turin was likely the brainchild of Vladimiro Rossini, director of the Ente ita- liano della moda (Italian Fashion Institute). During one of the legendary Florentine haute couture fashion shows organized by Giovanni Battista Giorgini, he took a cue from fashion jour- nalist Mildred Kador who said: “We Americans are interested in Italian haute couture but we want to see clothes that are within the reach of all women!” While Giorgini introduced haute couture from Italian artisans to America, it was Turin’s Samia, Salone Mercato Internazio- nale dell’Abbigliamento (International Clothing Exposition), that encouraged the development of prêt-à-porter in Italy, targeted at both domestic and export markets. By the mid 1950s, the number of Italian clothing companies was boo- ming, and they were looking for a new set of tools and strategies to help them grow. On 24th November 1955, Samia premiered at the Salone del- le Esposizioni in Turin to promote sales and increase Italian prêt-à-porter production. The initiative was sponsored by the Italian Fashion Institute and ran semiannually for the next twenty years: in November to show the springsummer collections and in April for the fall-winter ones. By coming to- gether this way, Italian manufactures could meet regularly with buyers and recognised fashion journalists to better un- derstand the needs of their customers. Looking back at the history of this initiative, a defining moment in the birth of Italian prêt-à-porter fashion, one can see now-forgotten houses like Schostal and Rosier from Milan, Turin Moda and Viky’s from Turin, as well as those still working to this day: Colmar, Luisa Spagnoli, Marzotto, Max Mara, Missoni, Krizia and Herno. Many foreign houses also took part including Pierre Balmain, Jacques Esterel, Jacques Mer- cier, Elsa Schiaparelli from France, Normann Hartnell “tailor of Royal appointment” and Digby Morton from England.
Sembrerebbe che l’idea di istituire a Torino il Samia, Salone Mercato Internazionale dell’Abbigliamento, la si debba a Vladimiro Rossini, direttore dell’Ente Italiano della Moda, il quale, durante una delle mitiche sfilate fiorentine di alta moda organizzate da Giovanni Battista Giorgini, trasse spunto dall’affermazione pronunciata ad alta voce della giornalista Mildred Kador: l’alta moda italiana ci interessa molto ma noi americani vorremmo vedere abiti per tutte le donne!
Se infatti Giorgini con una geniale intuizione aveva aperto le porte dell’alta moda e dell’artigianato di lusso italiano al mercato americano, fu l’iniziativa torinese del Samia a favorire lo sviluppo della moda pronta in Italia rivolta sia al mercato interno che a quello estero.
Il 24 novembre 1955 veniva inaugurata a Torino presso il Salone delle Esposizioni la prima edizione del Samia con il fine di promuovere le vendite e di incrementare la produzione della moda pronta italiana.
Ripercorrendo la storia di questa iniziativa, che contribuì in maniera incisiva alla nascita di una moda pronta di qualità, si incontrano accanto ai nomi di eccellenze italiane dimenticate come la Schostal e la Rosier di Milano o la Viky’s e la Turin Moda di Torino, quelli ancora oggi noti e attivi come Colmar, Luisa Spagnoli, Marzotto, Max Mara, Missoni, Krizia, Herno. Anche le case di moda straniere presero parte numerose agli innovativi saloni torinesi: Pierre Balmain, Jacques Esterel, Jacques Mercier, Elsa Schiaparelli per la Francia il “sarto della Regina” Normann Hartnell e Digby Morton per l’Inghilterra e molte altre ancora.