Month: April 2022

Yesterday I had the chance to talk to someone, an old friend, who used to work for organisations like Libera, has a deep love for and understanding of our region, and has seen many interesting projects through completion.

I told him about my idea, to utilise wind turbines as artistic canvasses, and he provided incredibly useful input. For instance, he thinks I could potentially secure some funding if I applied for any of the grants offered by the Region, submitting my proposal.

I think I am now going to focus more on the artistic and cultural side of things, and integrate the social side as things start happening. My research question is therefore changing, but I also feel closer to having a clearer idea of what it is I want to do.

The next project, Project Six, should help me reach more clarity as I will have to write down my ‘what, how, why and what-ifs’.

To answer these questions, I really need a moment to think about what I am trying to achieve, and build.

How tall? How sturdy? How many legs? Wood or clay? Who’s buying it? Who wants it? Who needs it?

Less idealising what the future might look like, should I be successful – renouncing the sweet taste of my champagne illusions and cigarette daydreams – and more analysing this present situation I am living and breathing in. With all its obstacles, advantages, possible stakeholders, and people I should start emailing because I am an ambivert millennial who doesn’t call unless strictly necessary.

In other words – what can I practically do right now to give shape to my ambitions, putting aside my desire and low-key obsession with wanting to be successful and – I am not embarrassed to admit (okay maybe just a tad) – make my parents proud?

They say confusion is perfectly normal at this stage, and I have a feeling it will be a faithful journey companion. I am, however, also trying to embrace it (something else they say we should be doing). I genuinely hope that from the ashes of this confusion something beautiful will be born. Something that I can be proud of, and truly call mine. If not a phoenix, an animal yet to be discovered.

How can I utilise creative forms of storytelling to give more visibility to businesses, artisans and organisations from my region?

Dior’s creative director, Maria Grazia Chiuri, chose the city of Lecce for the brand’s first fashion cruise in Italy.

The collection incorporated and paid homage to some of our local customs, folklore, music, and ancient traditions – embroidered on each dress the words “Amando e cantando” (“loving and singing”), motto of Fondazione Le Costantine, who provided the fabrics.

Models wearing headscarves (‘fazzoletti’), flowy silhouettes conjuring up the image of the twirling skirts worn by dancers performing ‘pizzica,’ as well as earthy colours reminiscent of the deep connection between the land and its (proud) people.

Italian influencer Chiara Ferragni was one of the celebrities who attended, with her tour around Puglia being featured on Dior’s official website.

By creating a successful blog dedicated to fashion, ‘The Blonde Salad,’ Chiara was a pioneer in harnessing the power of social media, now also showing what it can do for a territory, contributing to reshaping its image.

This is why I have been taking this event as a successful example of what happens when the stories and traditions of a territory meet innovation and storytelling.

In this case, storytelling through clothes and precious garments. A fashion show that became an occasion to promote not only the brand’s vision, perpetuating its legacy, but also the land hosting it, and offering itself and its beauties as more than a colorful background.

Sources:

https://www.dior.com/it_it/moda-donna/sfilate-pret-a-porter/collezione-cruise-2021

https://bari.repubblica.it/cronaca/2020/07/23/foto/dior_a_lecce_abiti_modelle-262684344/1/