Evening dresses

Jersey fabric RocknRoll

Sewn Fabrics – RockNRoll Owls

Sew on evening dresses yourself

If you can sew something, it is very interesting to dare to wear an evening gown. There are many occasions where you wear evening dresses, such as weddings or the graduation ceremony.

Fabrics can be found here: Fabrics for evening wear

Benefits of sewing

The advantage of sewing yourself is that you do not have to look far for something suitable. In addition, you become creative yourself and can be the more proud of the stitching afterwards. You can also be sure that no one else appears in the same dress. This may be uncomfortable. If you do not have standard measurements, a lot of changes will be necessary when the clothes are ready. These services are expensive and difficult to carry out. It may be easier to sew a dress than to change one. If you find a cheap fabric, it can also be much cheaper to sew an evening dress yourself. You can adjust the fit yourself, for example, if you need the size 40 bust and only have size 36 around the hips. This is no problem with the finished cuts, you then take the cuts in the desired size and connects accordingly.

Suitable fabrics

Matching fabrics for evening dresses can be found in the shop, here you can also get advice. You can buy there all the ingredients like zippers, sewing thread, buttons and everything you need for decoration directly together with cut and fabric. Also on the Internet you will find a rich selection of fabrics in all price ranges. For evening dresses are special festive fabrics such as shiny satin , or delicate voile, these fabrics are also already embroidered or decorated with beads and sequins. In principle, very many fabrics are suitable for an evening dress. The finest are fabrics made of pure silk, but artificial silk looks just as festive and is much cheaper. If you make a dress made of soft voile, you also have to sew a corresponding slip, so that everything is opaque. The underdress can be made of light feed taffeta, this gives the dress a particularly beautiful case. In some places, like neckline or arms, you can leave the dress unlined so that the skin shines through.

Pattern for evening dresses

First, you need to sew the evening dresses a pattern. Here you have the choice between the comfortable finished cuts and patterns from a fashion magazine. In the final cut, the cut is printed on a large sheet of tissue paper and only needs to be cut out. The cuts from fashion magazines are much cheaper, because the cut sheet contains many models here. The desired model must be traced and then transferred to a sheet of tissue paper and cut out, so two more operations. If you do not find a suitable cut for evening dresses, it is also possible to take a normal dress cut and extend the skirt accordingly. As a rule, this is easily possible. But normally you will find enough beautiful patterns to match your own ideas. When choosing the fabric you should keep to the instructions on average, because usually the cuts are designed for a specific type of fabric. For example, if you were to sew a cut for a jersey dress with a normal fabric, the dress will not fit and even tear when worn because the fabric is not stretchy.

How to sew an evening dress

An evening gown is sewn in principle like any other dress, usually only in long. It is therefore not difficult, even if the cut parts are longer. So you spread the fabric on a large table or the floor and put the cut on it. This should be done exactly as indicated in the cut edition plan of the cut, otherwise it may not be enough for the fabric afterwards. Then you pin the cut with pins and trace the outline with tailor’s chalk. Finally, cut the fabric with the appropriate seam allowance. Now remove the cut and stitch the seams or plug them together with pins and try them on. If everything fits you can start sewing. Strongly fraying substances must be serged. So cut it with the zigzag scissors or nibble all edges with the zigzag stitch of the sewing machine. Then sew all the seams and try on the dress. Pin off the hem and sew on with an invisible hem stitch at the end.



Realize your own ideas

The beauty of sewing yourself is the realization of your own ideas. This starts with the choice of the cut and the fabric with the preferred color. After sewing, you can decorate even more with evening dresses, so embroider the fabric and equip it with lace or beads and sequins. There are no limits to the imagination and you can still learn a lot of skills. Very practical for tailoring and own designing is a tailoring bust. At her you can easily infect the fabric pieces and convert them to their own ideas. This is much more comfortable than having to try on the dress all the time. It is also almost impossible to stake the substance on yourself. So you do not necessarily slavishly stick to the pattern.

Entry overview:

  • evening Dresses
  • Benefits of sewing
  • Suitable fabrics
  • Sewing pattern evening dresses
  • How to sew an evening dress
  • Realize your own ideas

Geisha – the art and the person

In September 2018 , in the Capital, the friendship (now historical) between Rome and Tokyo will be celebrated.
Such as? With a series of events that reflect the spirit that has given life to the Walk of Japan (completely viable return, after 10 years, just in July 2018).

The Association 花 見 Hanami ~ Lake of EUR Rome tells us that the Hanami (the rite of going to admire the cherry blossom) is now practiced also in Italy. For example, in the Roman district of EUR, where the EUR Lake Park is located.

On July 20, 1959 , the pedestrian and bicycle path that crossed it was inaugurated and was called the Walk of Japan in honor of the Land of the Rising Sun. On that occasion, in view of the 1960 Olympics in Rome, the Japanese Prime Minister Nobusuke Kishi , on an official visit to Italy, donated to Rome, on behalf of his government, 2500 sakura .

Japanese flowering cherry trees, of the variety prunus x yedoensis, commonly called yoshino or somei-yoshino, as a sign of friendship between Italy and Japan . Many of the trees from Tokyo were planted right in the EUR park along the aforementioned promenade.

Every year, under these enchanting cherry trees, people come from all over the country to admire the blooming of Sakura (cherry). The flowering begins in the middle / late March (usually around 20/24) and lasts until the beginning of April when the trees begin to fade. Another unmissable show!

Photo by Benjamin Voros on Unsplash

It’s official: Italy-Japan will be the match that will open the Men’s Volleyball World Cup on September 9th 2018 . It will be played at the Foro Italico in Rome, in an atmosphere that promises to be already very hot in support of Blengini’s blues, included in Pool A along with Japan, Argentina, Belgium, Slovenia and the Dominican Republic.

We will offer an unforgettable show! In the capital there will be only one match, but it is the inaugural one and the whole world is expecting a lot from the city of Rome.

… commented Claudio Martinelli, president of the FIPAV Rome Territorial Committee.

Endocosmo Maraini

Japan is no longer a thing for me to take or leave;
it is a fraction of the blood, an existence of the inner forests.
Fosco Maraini

Daniela Travaglini , yamatologa by chance, translator for passion, professional dreamer, reminds us that in September (and until October 20 ) it will still be possible, at the Japanese Cultural Institute in Rome, to discover the Japan of Fosco Maraini in the exhibition Endocosmo Maraini .

Curated by the nephews Nour Melehi and Mujah Maraini Melehi, it allows you to scroll through the history of this family and their relationship with Japan.
Just in 2018 is the anniversary of his first trip to Japan, when Maraini obtained a bag from Kokusai Gakuyu Kai to study the Ainu at the Imperial University of Sapporo, in Hokkaido.
In 1938 Maraini left with his wife Topazia Alliata and the eldest daughter Dacia, in a period of profound transformation for Europe, which was dominated by the specters of Fascism and Nazism.

Also in September, the traveling festival #AGeishaDay will take place in Rome: from 6 to 16 September , 3 geisha and 1 hangyoku (apprentice) of Tokyo will color the city with the silk of their kimonos. Conferences, workshops, ozashiki (geisha party), tea ceremony: the Italian geisha fans have already started the countdown.

The Museum of Civilizations could not ignore a similar event: geisha is one of the most studied social-anthropological phenomena in the world, ever since.
Suffice it to mention the case of Liza Dalby , the American anthropologist who, in 1975 , went to Japan to carry out research for the purposes of her doctoral thesis entitled The Institution of the Geisha in the Modern Japanese Society ( The institution of geisha in society modern Japanese ). His book, La mia vita da geisha, narrates this experience, lived in a real okiya (house of geisha) located in the district of Pontochō, in Kyōto, one of the most famous geisha neighborhoods of the city and of the entire country.

The Museum of Civilizations will therefore host the inaugural press conference of the #AGeishaDay Festival , on 7 September (from 11 am to 1 pm) at the conference hall of the “Luigi Pigorini” National Museum of Ethnographic Prehistory.

Furthermore, on September 9 , an important stage of the festival will be held at the Museum of Civilizations and in collaboration with the nearby Euroma2 Shopping Center .
“One day in a geisha house” workshop: a joint event between the Museum of Civilizations and Euroma2.
FIRST PART: at the museum pole of the Museum of Civilizations (in the conference room of the National Museum of Prehistoric Ethnography “Luigi Pigorini”).
The program, in short:
11:00 – “Life from Geisha”, the story of the protagonists, with the support of slides and the possibility to address their personal questions to the artists.
13: 00/14: 00 – Lunch break
14: 00/16: 00 – Geisha School with demonstrations of lessons in traditional dance and music.
16: 00/16: 30 – coffee break
During the coffee break the guests will move to the Euroma2 shopping center (10 minutes from the museum),
in Viale dell’Oceano Pacifico, 83, 00144 Rome (RM),
for the SECOND PART of the event.
The program, in short:
16: 30 / 17:30 – Oshiroi Make Up and Kitsuke (dressing of the kimono).
We will discover the magic and the secrets of the Make Up and the typical hairstyles of the Geisha.
17: 30/18: 30 – Greetings Final and PHOTO I remember with the Geisha and the Maiko.

Euroma2 has started an important collaboration with the “Museum of Civilizations” of Eur MuCiv .

The project stems from the common intent of making art accessible, integrating it into the spaces of everyday life as a stimulus and entertainment for the general public.

The innovative agreement was inaugurated on Friday 3 August with an exhibition (inside the mall) parallel to the exhibition in progress at the Pigorini Museum “Geisha – art and the person” curated by Loretta Paderni. The route will remain active until September 30, 2018.

So, in September, geisha fans will also have the pleasure of visiting this wonderful exhibition that, today, tells us about the curator, Loretta Paderni.

Let’s start from the beating heart of the exhibition …
«The exhibition Geisha – art, the person presents some precious objects that the Palermo sculptor Vincenzo Ragusa collected ( between 1876 and 1882 ) in Japan . During his stay to teach Western sculpture at Kobu Bijutsu Gakko, the first state school of Fine Arts in the country. Upon his return to Palermo, he founded and directed the School of Applied Art in Industry . It was initially annexed to the Japanese Museum consisting of its collection of 4200 objects , representative of Japanese art and crafts of the Edo and Meiji periods ( now kept in Rome at the Museum of Civilization ).

The sculptor was, in fact, among the first “ambassadors” of Italian culture in Japan and, on his return from the Land of the Rising Sun, became the spokesman of Japanese culture in Italy.

Reading the biography of Vincenzo Ragusa, in the book “Kiyohara Tama the painted collection” (Sellerio Editore), I was conquered by this man, passionate and generous, idealist and impulsive …
«When it leaves for Japan, in 1876, Italy is struggling to consolidate the process of national unification and trying to catch up with the most advanced European cultural and industrial realities.

The question of the opportunity to found industrial art museums with related training schools for skilled workers is much debated at the political level, but also on the pages of the newspapers.
Ragusa is certainly aware of these ferments. It arrives in Japan in a formidable historical period, a harbinger of stimuli, of changes. Since 1868, following the fall of the military government and the Restoration of imperial power, the country aspires to become a new power, modernized industrialized and economically developed.

The Japanese government strongly wants to internationalize its culture: the Universal Expositions in vogue at the time become the place of election in which Japan and the West confront each other and build their own images.

Kimono invernale mostra al Museo Pigorini “Geisha – l’arte e la persona” a cura di Loretta Paderni 


And Ragusa is the right man (and artist) to “educate” the creative Japanese craftsmen and together with them develop new and profitable production methods. Obviously with the aim of promoting the industrial arts (and the possibility of selling the products) …
“Ragusa does not know the language and history of Japan, perhaps does not fully understand the purpose for which he was invited to teach the techniques of representation from life, but is an artist . He perfectly captures the quality, the beauty of the materials with which he comes into contact, he makes them conquer.
In a letter to the architect Francesco Enrico Di Simone, his former teacher and friend, he writes: “I find that Japanese art is so original and so fine that I would buy everything that presents itself to me .

And, fortunately for us, he did it! Quite right?
“…Yup! The sculptor invests his considerable earnings from oyatoi gaikokujin (rented foreigner) collecting a collection of about 4200 objects, representative of all sectors of the Japanese figurative and decorative arts.

The encounter with the Western world introduces, and induces, radical changes in taste and aspirations. If Japanese art gathers admirers and generates the phenomenon of Japonism in Europe, the West also becomes fashionable in Japan. Illustrated books and prints show information on clothes, foods, lifestyle of foreigners and it is the Emperor himself who pushes his people towards “civilization”, taking photographs of them dressed in a uniform in 1872.

The adoption of new tools and techniques, moreover, leads to replace objects traditionally produced in large quantities, which are then abandoned and sold, often at affordable prices, giving rise to delusions collectibles.
Ragusa is in the field and, thanks to the prestige it enjoys, the objects are offered spontaneously.
The Sicilian sculptor is indeed credited with having contributed to the introduction of modern art in Japan. As evidenced by a certificate issued to him at the time of departure by the Minister for Public Works Sasaki Takayuki.

Karuta-bako container for playing cards and playing cards Karuta-bako, container for playing cards, wood, black lacquer, gold lacquer; silk brocade case, golden paper; two decks of 198 Uta-garuta playing cards, silk, balsa, golden paper, pigments, 19th century. The cards are rectangular, made up of a thin sheet of balsa wood covered on the back by gilded paper. On the front of a deck are the names of the poets, the verses of the poems and the hand-painted portraits of characters from the sophisticated clothing sitting on the tatami. On the other deck are printed the final verses of the aforementioned poems.

So what motivations led Ragusa to collect the evidence of Japanese craftsmanship and art?
“What is certain is that immediately the sculptor, perhaps inspired by the illustrations of the Enchizuroku, is concerned with documenting the objects in his collection. For it has already conceived the role of witness of the arts and culture of the Japanese people .

His interest, in fact, despite being markedly towards the understanding and acquisition of technical craft skills, is aimed at an almost anthropological study of the country that has welcomed him and of which he wants to make known in Italy the lifestyle , the positive attitude towards work, the artistic attitude, cultivated in all the strata of society.

Ragusa stands beyond the exotic patterns of a literary and artistic Japanism, but rather sees the possibility of constructive confrontation, an exchange of attitudes and skills between the two countries. 

So does the idea of a School-workshop take shape in his mind in which to use Japanese techniques and teachers to create a specialized industrial manufacturing in Italy? I reply with your words .

… In the midst of a population endowed with exquisite and genial artistic attitudes, awakened in me the dormant resolutions of youthful aspirations and wanted to bring the contribution of devoted son to the progress of my neglected homeland, implanting in Sicily the Schools of Art applied to Industry .

Returning to Palermo in 1882 , Ragusa strongly pursues the project of the School , which will become his greatest dream and his greatest disillusionment. »

Makeup set Make-up set consisting of: double retractable cosmetic brush, wood, gold lacquer, metal, bristles; brush for double cosmetics, wood, gold lacquer, metal, bristles; case for a bellet, golden metal; small bottle with scented essences, gilded metal, silver, 19th century. The set for makeup is combined with a small bottle with scented essences, decorated with floral motifs in gold on a black background and closed by a knob that is screwed into a chrysanthemum ring in silver.


In a conference held in February 1884, to the workers in Palermo, talking about Japan, he recalls …
“Everyone joins in activity; calm, tireless, industrious, proud citizens; because in that country the law punishes those who do and those who receive alms, and this is how man does not become depressed, instead honoring himself with work and education – there the law on compulsory education does not exist, because every house is a school and everyone can read and write and profess an art; since in those same houses the children find tools, books, drawings and useful toys; real kindergartens. “

“The objects collected in Japan and exhibited in the eleven rooms of the Museum inaugurated in 1883, must support the educational activities of the School-workshop, provide technical and aesthetic models to inspire, and be at the same time a source of” … expressive, ethnographic concept social, political and religious … “of their country.
The innovative project of Ragusa stands as a bridge between the two cultures, to be traveled in both directions . 

In Tokyo, Ragusa met the young and promising painter Kiyohara Tama , who followed him on his return to Palermo in 1882, successfully entering the artistic scene of the city, where he lived for 50 years.
Vincenzo Ragusa founded and directed in Palermo the School of Applied Art in Industry, of which Tama was the director of the women’s section.
The Japanese museum was initially annexed. It consists of a rich collection of 4200 objects, representative of Japanese art and crafts from the Edo and Meiji period, which the sculptor had collected during his stay in Japan and which are now all in Rome at Museum of Civilization, among the collections of the “Luigi Pigorini” National Museum of Prehistory Ethnography.


Until October 30, 2018, we will therefore have the opportunity to make this ideal trip to the Japan of Ragusa. An opportunity not to be missed!

Illustrazioni delle Bellezze delle Case Verdi (Ehon seirō bijin awase) Suzuki Harunobu

The objects collected by Ragusa come to life, in the exhibition, through the images taken from the volumes Illus trations of the Beauties of the Green Houses ( Ehon seirō bijin awase ), by the artist Suzuki Harunobu (eighteenth century).

Suzuki Harunobu (鈴木 春 信; 1725 approximately – 15 June 1770) was one of the most famous interpreters of the Ukiyo-e style. He was an innovator in the artistic field, the first to produce multicolored prints (nishiki-e) in 1765 , news that made obsolete previous prints made with only two or three colors.

The books in the exhibition, ancient and precious, are kept in display cases, but we can browse them on a digital screen. In them, the ukiyo – “the floating world”, ie the aesthetic values and the vision of life based on the awareness and appreciation of imperfection by the Japanese society during the Edo period (1603-1868), is expertly described .

In the illustrations of Harunobu the oiran are represented in their rooms (oku), in moments dedicated to education, personal care and the study of the arts.
The exhibited objects, such as accessories for hairstyles or elaborate kimono, tell us about the elegance, sensuality and grace of these young women. The rigorous study of music, dance, poetry, calligraphy and floral composition (ikebana), fundamental for their entertainment activities, allows courtesans to be an emblem of cultured sensuality.
From other objects we appreciate the private moments, hidden outside by sliding windows, also witnessed by images in which we can glimpse the woman who smokes, reads, is wandered with pets or is dedicated to games and pastimes.

Illustrazioni delle Bellezze delle Case Verdi (Ehon seirō bijin awase) Suzuki Harunobu

Well distinguished from the geisha (artiste), in the history and in the Japanese culture the oiran (花魁) are figures similar to courtesans and are considered yūjo (遊 女), that is “women of pleasure”. Their social status is distinguished from that of ordinary Yūjo. The oirans were indeed luxury courtesans and some of them were so successful that they became celebrities even outside the pleasure districts.

Their art led them alongside men of power and their dressmaking was often at the origin of fashions and trends, which is why some aspects of their tradition still survive in Japan in the twentieth and twenty-first centuries.

mostra al Museo Pigorini “Geisha – l’arte e la persona” a cura di Loretta Paderni

Finally, with the exhibition of photographs by Fabrizio and Federico Bonifazi , made mainly in the Gion district in Kyōto , the topic of geisha in today’s Japan is addressed. The images show the iconic figures of the maiko and the current geiko, while they are walking towards the ozashiki (geisha party), they smile to the curious goal of the westerners or they come down from a taxi to go back to the okiya (the geisha house).

The geisha, like other icons of Japanese culture, is therefore still a clear bridge between Japan’s past and present . As if, unchangeable and eternal, emerged from the soft lights of the deepest paths of a country that has now been completely transformed, all around her.

The geisha is a treasure of humanity, we hope it never disappears.

Waiting for the next trip, in Japan, we can admire it at the exhibition Geisha – art, the person (at the Museum of Civilizations – Science Fair Prehistoric ethnographic museum “Luigi Pigorini”, from 26 July to 30 October 2018).

locandina mostra al Museo Pigorini “Geisha – l’arte e la persona” a cura di Loretta Paderni

Fabric markets: outdoor event

Since 2004, you are now in Germany and you are no longer indispensable, fabric markets are becoming increasingly popular among all creatives across the country.

The experience fabric market

The fabric markets were brought to life by Dutch market traders. Thousands of customers and countless retailers expect a special atmosphere there. A hustle and bustle with haggle and many nice conversations are only a small part of this experience.

Fabric dealer on tour

While cloth retailers set off in the middle of the night to present their customers with a beautifully decorated market in the morning with the latest trendy fabrics and haberdashery, market visitors can take it easy. A hearty breakfast, delicious coffee, usually only a short drive and get into the fray. In every weather, thousands of visitors arrive at the fabric markets, who move all over the country.

Buying fabrics at the fabric market – an experience

Many of you probably know it from normal shopping, you write a grocery list and you really want to stick to it. The reality, however, usually looks different. The bags are full, the purse is mostly empty. No matter, fabric markets are a real adventure for those who like fabrics and can fall in love with the fabrics.

Preferably without intentions on the fabric market

No matter if you do not intend to buy so much, hardly anyone can but withhold the sight of the beautiful fabrics and low prices. There is something new to discover at each stand, with people standing in two rows in front of the stands, looking for the ultimate bargain.

The selection on the fabric markets

The choice is huge, whether jersey fabrics, softshell, scraps and much more. Usually it does not take long until the first bags are well filled, if you’re “lucky” the man is in to play with them (but honestly, the women do not want your men to see the women’s purchases) otherwise you have to ” Bring “prey” quickly to the car, so you can easily browse and shop.

Pay cashless on the fabric market

In the meantime, many retailers even offer to pay on the market by debit card, which is certainly seductive on the one hand and you do not have to worry about its cash.

The best time at the fabric market

In the main time between 10-14 clock it is the markets in the fullest, who does not like it quite so full, should try in the time from 15:30 clock his luck, then the stalls are not quite as full and you can look at the assortment in peace. However, then the best bargains are certainly already out of print.

Fabrics Werning at the fabric market in Soest

On Sunday the 30th of April we participate in the fabric market in Soest, we are with 3 sellers on site and will experience the special flair of the market with you. The fabric market in Soest is one of the most beautiful, because it snakes up from the market square down to Brüderstraße. We look forward to a chat with you and of course hope that you find the right fabrics and haberdashery for us.

The art of vision without fear. Resilience!

Erik Wahl is an international graffiti artist , author of best sellers and successful entrepreneur. Erik redefines the term keynote speaker and is, today, one of the most requested speakers . His seamless painting becomes a visual metaphor of the heart of the message, encouraging organizations to generate profits through innovations and a higher level of performance.
The list of its clients includes AT & T, Disney, London School of Business, Microsoft, FedEx, Exxon, Mobil, Ernst & Young and XPrize. It was also a TED presenter .
The responses received by the public were incredible, with a standing ovation to prove it. His book on the best-selling business , UNTHINK has been praised by Forbes Magazine as the proactive creativity plan and by Fast Company Magazine as provocative but with a specific purpose .

Erik takes us to his studio and unveils the anecdotes and technical details behind some of his favorite paintings. His understanding of the mechanisms of vision was born at the school of disappointment . After an eight-year career as a partner in a company, he was frustrated by the lack of innovative thinking and the corresponding profit he saw in business. So he decided to challenge companies to change their way of thinking, while at the same time following his individual passions. He rediscovered his love for art and now plays in the business world and works through his art.

On November 9, Erik painted live on stage at the World Business Forum in Milan , inviting us not to be afraid.

” The Beta state is the spirit of innovation, the ability to embrace change.

Get out of business as usual, from your comfort zone. Think of everything we could do in our business if we were not afraid. Fear affects our performance , it is the risk of being too structured.

What’s FEAR? False Evidence Appearing Real.


As a child I loved drawing, but I stopped because I had been told that I was not good enough and attentive to details. As an adult I started to paint and I started to see all the things I had learned from another point of view. We need to rethink ourselves, experiment and be creative, even if they told us we are not.
Thinking Big Data means conforming to univocal rules. I wanted to express my Small Data, the instinct for too long repressed.
The question I ask you is: how are you going to rekindle your mind and harmonize Big Data and Small Data?
As Einstein we must have the courage to look around and overturn what we see. This is the art of vision … »

Taking risks repays, no doubt: in Milan Erik Wahl brought a lucky man to the stage from the audience and gave him the work he had just finished.


In the last ten years he has shared his incredible message with the biggest and most influential companies in the world, leaving behind his award-winning works of art as a memory of his passion for a disruptive way of thinking. It is the Warhol of Wall Street , the Renoir of the ROI, the Picasso of productivity, the Jobs of … Well, who has a job.

What is art for you? And what is your favorite work?
“The goal of art is not to make a product. The goal of art is to produce thought. The secret is not the mechanical or technical skills that create the art but the process of introspection and the different levels of contemplation that generate it. Once you learn to embrace this process, your creative potential is limitless. My favorite work of art has not yet been invented ».

Three tips for an Italian manager? In this period of economic crisis …
Focusing – on the construction of authenticity and trust in one’s own brand .
Commitment – in learning new social media languages to understand the rapid change that is taking place in consumer buying habits.
Adaptation – in the age of innovation where change is the norm. And remember that growth and comfort can not coexist.
Social media is currently causing a huge fragmentation in the business world. It is a new language that the whole world is obliged to learn. It is strongly fragmentary because it is not structured. Effectiveness and profitability are no longer the strongest currency for measuring the health of a business . Trust is the currency that matters most in our new economy. Trust is in creating authentic experiences for its customers. Trust generates an emotional connection that challenges the price. Confidence can only be created around the personalization of the product or the customer service experience. Trust is humanization of the business . Confidence is emotional in a unique way. It is the explanation of why we buy and what we buy. And trust builds up in a unique way, strengthened and amplified on social media » .

And three tips for the new president Donald Trump?

“Only one piece of advice really matters to me now. Tolerance and compassion to unify and heal our deeply divided nation “.

As you write, creativity has two sides: the spark of inspiration and the routine of work. What is your spark?
“Creating something from nothing is my spark. Creativity is the change that changes everything. I need it as an alarm clock because I’m excited to get out of bed and feed my life in every skill I have, to be a creator rather than a critic. “

How can we open the mind? To be the best version of ourselves …
” We can expand our minds by getting into Beta mode … Being Beta is being creative . It is basic to my work as an artist and as an entrepreneur. Being Beta is: do not show me what to see, but teach me how to see. And once I know how to see the opportunities that were hidden in a flat vision emerge.
Being Beta is the process of expanding my awareness. It suspends the anxiety generated by temporally linear thought and allows me to access an inner sanctuary of great calm.
Logic is rational, but the single lens of logic simply can not capture the subtle artistic beauty of life that surrounds me all the time. Being Beta is not the opposite of logic, but rather beyond it. Being Beta fascinates my mind, shakes the nerve cells and opens up my emotional intelligence to give space to free and non-judgmental peripheral visions ».

Failure is not the opposite of success. It’s part of the success … But how can we overcome the fear of failure?
” Resilience in overcoming obstacles and failure perceived as a key agent of innovation … We must be disciplined to combat the resistance of the status quo . As the business landscape continues to change, institutional complacency is the biggest enemy of innovation. Not all our ideas will work. Many will fail. We must build resilience to setbacks. We must not be afraid to fail. Failure will happen. In business, if we are afraid of failing, we will not invent anything new. Resilience in the face of bankruptcy is the key to pushing us out of our comfort zone and into innovation. Mario Andretti said that if you’re not a bit scared then you’re not going fast enough .
Translated into my work as an artist and entrepreneur: if I’m not failing, I’m probably not pushing my ideas far enough. The more I feel comfortable, the less I become innovative. Resilience is the key to feeling at ease in uncomfortable situations “.

Music plays an important role in your art. What is your favorite song and why?
“The music I listen to is energy that fuels my art. It goes from classic to hip hop and everything in between. I can be inspired by all kinds at all times “.


Fabric markets: outdoor event

Do it yourself


Do it yourself, DIY for short, has become increasingly popular in recent years. Translated, that means as much as “do it yourself”. The trend is back to DIY and making. Especially young women and mothers discover this hobby more and more for themselves.

General to DIY


All activities performed by amateurs without outside professional help are largely referred to as DIY. This also includes DIY, such as repairing, reusing objects or recreating things. This can be, for example, sewing, making music, crafting, knitting, crocheting, cooking and baking. The attraction is to create something individually with your own hands. Even though DIY is gender-unspecific, more women are generally more interested in making their own.

Origins and history

DIY emerged in the 1950s with the Arts and Crafts movement in England. The distribution spread rapidly all over the world. In the 1960s and 1970s, the movement was characterized by a belief in self-organization and empowerment, self-initiative, improvisation and a distrust of politics, media, consumption and industrial products. Guides play a central role in publications. In the past, booklets themselves were printed. Today, mainly social networks and video platforms are used for distribution.

Trend DIY

Since 2013, the DIY movement has become increasingly popular and is growing in the field of craftsmanship, creativity. Self-made home decoration, textile works, handicrafts and upcycling are increasingly being named as do-it-yourselfers. Here, the craft is no longer occupied as a male domain, but occurs increasingly gender-specific. Sewing, crocheting, knitting has long been considered a typical “grandma” occupation. But this old craft is increasingly popular, especially among young women and mothers. The Internet is flooded with numerous tutorials, fabric samples, suggestions, ideas and materials. No one has to sew at home in the quiet little room. You can meet many like-minded people here, with whom you can actively exchange ideas. In addition, these platforms usually offer the chance to sell his homemade sewing products on a small scale. Like a small public marketplace, you can also buy foreign DIY products.

What can you sew everything yourself?

There are plenty of instructions on the internet about a plethora of garments, home textiles, gift ideas and accessories. The choice of materials and fabrics is overwhelming. In the age of the Internet you can order all fabrics conveniently and quickly online. There is no limit to the creativity in compiling fabrics and materials. Small DIY signs and closures with which you can mark your own creations are also popular. Especially smart are DIY products with individual embellishments such as sewn-on letters from fabric remnants, various buttons, sequins, stones and unusual fabric remnants such as silk; Top; Satin, jeans and corduroy. In DIY baby fashion you should do without small parts, as they can be swallowed! Avoid buttons if possible or sew them particularly well and check them regularly. Especially friends and relatives are happy about an original gift, so why not give away a tie, bag or pillowcase? Especially recommended for birth is a blanket and pillow with the baby name of cloth letters. You can definitely score with this gift. At the beginning of his amateur career, you can start with fabrics from discarded clothing or home textiles – old jeans, T-shirts, curtains, stoles and blankets. This has the advantage that you are not annoyed about failed attempts, waste or crooked seams. Nothing is more annoying than making mistakes that are avoidable with expensive material. Nevertheless one must not forget, with DIY one does not want perfect products. Mistakes make them what they are: homemade.

Clothes and accessories

Theoretically, it is possible to sew everything yourself, which you can also buy. Of course, this depends on personal skills, the sewing machine and the available fabrics. Baby fashion is especially popular with young mothers: rompers, baby pants and tops and caps. Above all, young women sew: tops like T-shirts; Pullover; Tops; Shirts and blouses, evening dresses, trousers of different lengths and widths, skirts and jackets. A wide range of fabrics is available: jeans, jersey fabric, cotton, silk, satin, velvet, viscose, corduroy, stretch fabrics and many more. The DIY products become a real eye-catcher when using different types of fabric or special imprints. Especially with DIY baby fashion stars, flowers, dots, hearts and symbols in the fabric can look great.
You can also sew different accessories such as bags, key chains and cases and cloths yourself.

Home textiles

For beginners in particular, sewing home textiles such as pillowcases, blankets, stoles and curtains, tablecloths, placemats, tea towels, bedspreads and lamp covers is especially suitable for beginners. These usually have long, straight seams and are suitable for practicing with the sewing machine. In addition, you can use many scraps and also small eye-catcher such as dolls, stuffed animals, flower arrangements, fabric for bread baskets and sewing cushions. You can easily do better living yourself.

evening Dresses

The sewing of clothes, especially evening dresses, is suitable for experienced seamstresses. One should understand the basics of patterns, different seams, handling of the sewing machine, measuring and cutting of fabric and have sufficiently practiced. Otherwise you get annoyed quickly when you cut expensive, high-quality fabric. DIY does not mean that you get an evening gown cheaper. Price is usually the substance. It takes several meters, should pay attention to a good quality, as well as suitable sewing thread. That’s quite a sum. Especially if the evening dress is to be decorated with sequins, crystal stones, embroidery or ornaments. Before you should inform yourself about the different types of evening dresses. For example, there are A-line dresses, the mermaid cut, cocktail dresses, prom dresses, princess cut and balloon dresses. The following questions should also be clarified. Which cut and shape fits? How many layers of fabric do I want to use? Should it be a long or a short dress? For what occasion should it be borne? What dress size should the dress be? This is just a small selection of topics that should be noted before. In addition, you need a sewing machine, sewing thread, crayons, tape measure, scissors, possibly materials for decoration and Abstecknadeln. Evening dresses should always be sewed with patterns. Here it is worthwhile to buy one. Not insignificant is also the time and effort. But if you pay attention to all this and work intensively on it, you can look with pride on a self-sewn evening gown. And once we are honest, homemade is always the most beautiful!


A DIY blanket is perfect for the cold season, bad weather and cozy hours on the couch. Ceilings in retail usually are not the perfect size. So why not DIY? A cuddly blanket is especially suitable for sewing beginners. The time and effort depends on the size and style of the blanket. After a little practice, this type of sewing is quick and easy. There are no limits to creativity and size. Fleece fabrics are available in different colors and lengths at reasonable prices on the Internet. There are also different patterns with stars, stripes, animals, ornaments and symbols. Patchwork quilts are fabric scraps that are sewn together in squares. Volume fleece ensures an extra cuddle factor, which makes your blanket particularly fluffy. You also need a sewing machine for a cuddly blanket, matching sewing thread, sharp scissors, chalk pen for marking, measuring tape and a nice ribbon for the border. Whether a small cuddly baby blanket or a large blankie for the couch – let your creativity run wild.

Decoration for a nice living

As mentioned above, you can easily sew different home textiles for your home. You can buy curtains in different designs, but usually they are too long. Do not throw away the rest! This makes it easy to sew pillowcases that will fit the curtains. All you need is the matching zipper or buttons. Other remains can be picked up for a patchwork quilt. Boring lampshades can be covered with materials that are alternately transparent and impermeable to light. That gives an interesting play of light. You can easily sew tablecloths yourself. Select favorite fabric, cut to size and sew around the edges. Finished. From the leftovers you can also sew placemats. However, one should pay attention to high quality, solid material. Practiced seamstresses can also sew chair covers or sofa covers. However, this is very demanding because you have to sew in a rubber. To tailor the right measurements is difficult. For questions you can always find answers on the Internet. There is a flood of videos, instructions and ideas available. In self-made accessories, it can be much more beautiful living!



There are a lot of over-the-counter patterns available on the internet. However, you should pay attention to reviews and comments. Sometimes these are poorly fitting and inaccurate. On the safe side you are with patterns that contain a video tutorial and sample photos. Mostly they are distributed as an e-book. Thus, they can be displayed on many devices. You can take them anywhere with you and put bookmarks, comments and notes. You should also pay attention to the information on clothing size and difficulty level. It is frustrating if you are a beginner and faced with too complicated instructions. If you prefer to hold something in your hand, you can fall back on a wealth of books. These can be purchased in larger bookstores or online. An advantage of the digital instructions, however, is the easy addition of extensions and variants to the cuts. In addition, you can usually contact the distributors directly and make inquiries. There are matching patterns for every purse. If you have already gained enough experience and safety, you might as well offer to design your own patterns and distribute them. This is of course associated with an increased effort, but also radiates a very own charm.

Ode to the master of Italian cinema of author: Dario Argento

I know Dario’s house very well, it has been our office for more than five years. And it is also something else. It is the place where he lives and in which there is everything that belongs to him. I am familiar with him, and with his home. I want to share the privilege of being able to see him whenever I want, to ask him any questions and to work with him. But not too much.

1. Do you distinguish more or less happy periods in your career?

As in all careers, it is normal that more and less important moments exist. When you follow your inspiration and it fails, that’s a bad time. A good moment, happy, is instead a great success.

2. He started with yellow but then the fantastic took over. Now that the fantastic cinema is full of special effects, is it nostalgic for a certain artisanal cinema but with a great visual impact, like his or that of Mario Bava?

I miss certain moments of the Yellow cinema, Thriller, as they are not widespread now. But I try to keep attending them, seeing them and doing them.

3. What do you think of new technologies? Turning a movie with a cell phone helps the cinema?

New technologies are important on certain aspects and make sense. But I do not know if you can make a film with your cell phone, because of the lack of depth of field and other technicalities. There are small, handy and cost-effective digital cameras that cost like a cell phone.

film on the coil the vintage old black-and-white

4. Today, a lot of television makes cinema better. In Italy you were a pioneer because you did the TV as the cinema did: what do you think of these two languages?

Currently I plan to do something important for international TV because I’m starting to feel stimulated by all the famous films that come from America and the series, some exceptional. In Italy, fiction, however, is flat, moralistic and a little banal. In America it is almost more free than cinema; we arrive at certain forms of representations of violence, of sex that were previously unthinkable. So sure, I think it’s time to do TV and to do it using America’s TV language.

5. Today in Italy are mostly comedies, as you see the Italian cinema of our day?

It is a strictly economic matter: doing comedies is cheap and should have a good result. Now, however, we are moving towards a change because the comedies have tired the public and start to go wrong. It is an opportune moment for Italian cinema to redevelop and rediscover the genres that it had abandoned. I think it’s a time of great change. We’ll see where it will end.



Isabella Peschiera

Graduated in communications technology and passionate about communication psychology, in 2010 I moved to Rome, where I continue to work as a personal assistant to Dario Argento. I love music above all things, for years in Padua I have organized concerts and events of various kinds in different clubs. I have a “small” weakness for Michael Jackson, and I watch a lot of movies. I believe that humanity would improve if it was more attentive to the animal world. I write a lot, about myself, about what surrounds me and about how I perceive it. I joined a Tour Manager of the OTRLive during Eva against Eva, by Carmen Consoli. An incredibly formative experience from every point of view. Today I have many things in mind … but Isabella Peschiera

The grand finale of the Romaeuropa Festival

Sunday 25 November, the Romaeuropa Festival ended with a great final day at the Auditorium Parco della Musica in Rome ; from the Santa Cecilia hall to Petrassi , passing through the Sinopoli and the Borgna Studio Theater .

To greet the end of this thirty-third edition , in five hours, the witness has passed five concerts (between genders and contaminations) and this year as never before “Between words” .

The obvious desire for mediation and reconciliation of opposites was the flagship of Sunday, a day in which there were also reflections and insights.

Protagonists of the evening: Angélique Kidjo in her only Italian date, Matthew Herbert for the first time in Italy with her Brexit Big Band , the Japanese visual artist Ryoji Ikeda in a double date and the contemporary musician Franco D’Andrea .




To retrace the musical marathon on Sunday, the opening at 16 was entrusted to Ryoji Ikeda , one of the leading exponents of contemporary computer music and pioneer of abstract music , which has earned a double performance , returning on stage at 18.

The first of the two proposals, Music for percussion , in the national premiere, is a composition that, together with the group of percussionists Eklekto Ensemble , returns digital sounds, in analog format . The second meeting of the lineup was Datamatics , not a simple electronic concert, but a sensory journey in which analog data are translated into the digital code.


Franco D 


Considered one of the most important musicians of the contemporary scene, Franco D’Andrea Octet follows Japan with his Intervals I and Intervals II presented on stage at the Teatro Studio Gianni Borgna.

Intervals I – II are the two episodes of the project , carried out by the composer and jazz pianist of Merano, focusing on the combination of intervals from which unexpected improvisations arise.

The witness is then passed to Angélique Kidjo who took the opportunity to present his new album Remain in Light for the first time to an Italian audience: the Talking Heads album contaminated by African polyrhythmy, funk and electronic music .

The new work celebrates the genius of Brain Eno contaminating it with the euphoric singing of Angélique, to give light to a real tribute to one of the greatest bands in the history of music.

All through the gaze of one of the most cosmopolitan artists of all time.


Angélique Kidjo vincitrice di tre Grammy award musica internazionale 


The commemorative closing is entrusted to the concert of Matthew Herbert’s Brexit Big Band : more than fifty artists, including musicians, singers, singers and soloists from different countries meet on stage and form one big ban d to celebrate the union between the peoples , artists and sounds of Europe and the world .

A farewell party began with the announcement of the exit of Great Britain from the European Union, which is going through the whole old continent.

In an increasingly fractured and divided political climate, in which tolerance and creativity are in danger, we feel the urgency to affirm the desire for dialogue of a part of the musical community of Great Britain, with our closest friends but who soon they will be less accessible.

Miriam Bendìa

Between one trip and another, he lives in Rome.
He wrote a handful of books.
Like Philippe Daverio, he argues that life with art sometimes improves the art of life.
He dreams a lot, at night. And he learned, upon awakening, to trust his own dream visions.
When he grows up – he says – he dreams of becoming a writer. 

The noise of the soul, writing about jazz, rock, blues".

On the occasion of the presentation of his latest book entitled ” The noise of the soul, writing of jazz, rock, blues ” (Il Saggiatore, 2017), held at the Casa del Jazz in Rome a few months ago, Ashley Kahn met his readers and enthusiasts who have come to have the opportunity to exchange a few words with one of the most authoritative signatures of musical communication.

Among anecdotes, stories with personal implications, curious stories that changed the course of the music of which the journalist and writer was a direct witness, those present had the opportunity to speak directly with the one who of music, especially jazz, is considered one of the living “sources”.
From an encounter like the one I had with Ashley Kahn, you could draw innumerable ideas to deepen topics in the most varied directions; however, one of his phrases in particular impressed me, that is when the author claimed to consider his work only when the reader, intrigued by the writing, decides to put aside the book or article and go to discover more about the artist mentioned, listening to his music or going to one of his concerts.

On the other hand, it is worth remembering that music and creativity, according to Ashley Kahn, can not be rationally governed; they can only be indulged, like the current.
Following his advice and making us “drag by the river”, I had the opportunity to develop directly with Ashley Kahn some concepts in “The Sound of the Soul” for Just Baked readers.
This stimulating chat came out, full of reflections on our way of telling music and, above all, of living it.

Let’s start with the cover of the book: a white background, a big red heart, with arteries, veins and ventricles well visible, wrapped in a huge black deejay cap. Is the sound of the soul that natural instinct necessary to write music starting from experience and setting aside the theory?

“What experience, what theory? If I have understood correctly, with this question you are asking me what I think of the idea of concentrating more on interaction with music itself, rather than on an academic notion of where and how music was born. If so, the answer is certainly yes. In my opinion, the “theory” can often be a filter not to mention criticism and personal opinion.

A friend of mine who once worked for the magazine “Rolling Stone” wrote that the best musical journalism honestly analyzes music for what it is, not for what the writer would like it to be. That’s what I say to my New York University students when they write about music: first use your ears and your heart and then bring your brain into play. “

The book begins with the phrase “Music is a vocation”. What does this mean for you?

“That I managed to make a profession out of my life and I thank good fortune because I can do it every morning, every day.”

Ashley Kahn at "Casa del Jazz" in Rome 

The noise of the soul is not the translation of a book already published in other countries; in fact the Italian version is the first version; Can you tell us why this choice and the link with our country?

“I was also lucky enough to find a home for my writings here in Italy, since my book on Miles Davis‘ famous album, Kind of Blue, was published by Il Saggiatore, almost fifteen years ago, and the president of that publishing house – Luca Formenton – was my guide, my business partner, my professional consultant, my psychologist, my collaborator and friend. Thanks to him and the help of his staff over the years, Italy has become an open door: I have come into contact with the jazz community and jazz journalists. I spoke at the university and participated in music festivals and congresses, from Rome and Milan, to Venice, Perugia, Bari and splendid countries such as Locorotondo, Cumiana, Feltre and Sassari.

I fell in love with Italy, its music and its culture and Italy has made me compliment in many different ways. The Assayer decided to be my only publisher – so far! – and to publish an anthology of my writings starting from my years in high school. It is the umpteenth testimony of a love story that I pray never runs out. “

It is 1957, Miles Davis punches John Coltrane in the backstage of the Café Bohemia in New York: Thelonious Monk notices everything and does not miss the chance to hire Coltrane as a saxophonist in his band. Can we say that Coltrane really became Coltrane on that occasion?
This and other episodes of which you speak in yours have helped to change the course of the history of music.
Nowadays, for those who write about it, it is easier thanks to the network but how to select reliable and authoritative sources for music?

“In my opinion, Coltrane became Coltrane when he faced his fears and doubts about himself and entered the band of Miles Davis and left Philadelphia, in 1955. He took a risk and regardless of what happened to him later and Miles, Coltrane appreciated and respected the opportunity given to him by the man who never stopped calling “The Teacher”.

As for your question on how to determine the veracity of the sources when writing about music history, I think the problem is not the Internet; I think there has always been a certain laziness or simply inexperience in understanding things to believe or not when researching the history of music. As for me, I always try to get as close as possible to the subject. It does not matter if the piece to be written belongs to Miles Davis or the Beatles or to Kendrick Lamar. First you have to find their words – interviews, autobiographies – through reliable sources, then find the words of musicians or people from the music world who have worked with them and have known them. At that point, consult the journalists who wrote during the period in which those musicians were active. And only then should we use our intellect and our critical sense and should not be considered truths deposited blogs, Wikipedia or other online sources.

Did Miles really punch John Coltrane in the stomach? To say it was Miles, but in reality Miles was rather short and Coltrane was bigger than him. Also, Miles liked to tell stories that could surprise and upset people. Once, he also said that he and Theolonious Monk had come to blows, and Monk was bigger and heavier than Coltrane. Apparently Monk claimed he would have torn the trumpet to pieces if such a thing had ever happened. So, it is important to ask oneself: how much do I have to believe in this case and how much is nothing but a story? »

Ashley Kahn at "Casa del Jazz" in Rome 

Among the traditional media for the dissemination of music today, radio is still one of the most important tools, even if in a completely new way compared to the past, thanks to the network. What do you think are the characteristics that a radio format should have today and which music and in-depth programs you would like to recommend?

“Nowadays we use the word” playlist “and often it is an algorithm that indicates what a person likes, an algorithm that then creates a personal playlist for the user (like Pandora) or that uses other parameters to create a shared playlist for a wider community (such as “Discover Weekly” or “RapCaviar” on Spotify). It contains more information and is a more digital instrument than the idea of classical radio, but at the base the idea is the same: “I know you like this style or this genre, now let me show you some other possibilities …”

People still like to be surprised and hear new artists and songs and try new enthusiasm and people like to have a guide who knows the scene, a sort of musical Virgil, a great deejay of music (according to the old definition of ” dj “) like those of old times or old radio. Do you want to hear some online deejays that really know music? Try NTS in London: fantastic programs and really smart drivers. “

Graceland by Paul Simon, an album that has sold over 14 million copies, was born thanks to South African musicians in South Africa. An album that was also a cultural and social “case”.
A couple of years ago Paul Simon called a young Italian electronic music producer, Cristiano Crisci aka Clap Clap, for his latest album “Stranger to Stranger” struck by his musical sensibility. Is the collaboration between artists, even of different backgrounds, the signal of an evolving musical scene?

“Collaboration between musicians is a fantastic and inevitable fact. Music detests emptiness and can not survive in a vacuum. He constantly needs collaborations and fresh input and new ideas, just as we need the next breath of fresh air. It is the natural course of music, in the same way that the water finds its lowest path, flowing from the hills to the sea. That’s what I learned by following that river for decades. ” 

In the meeting with the public in Rome on the occasion of the presentation of the volume you recalled your experience following the artists for several years and on more than one occasion emerges the key concept of “respect”; Tell us about “respect” for all those involved in this adventure that is called music and that today seems to systematically fail in relationships.

“Well, first of all, let’s stay positive and be more optimistic, if you do not mind. I do not see any “system failure” in the music scene or between music journalists. Indeed, I see more and more people involved in music journalism that supports music and helps to celebrate it in all its styles and genres and sub-genres. Any difficulties and obstacles could be online, because anyone can post anything at any time and, simply, you write too much stuff on the music – and you do too much music – to read it and listen to it all.

Once upon a time, the musical information was concentrated: a limited number of music magazines, television programs and radio stations that provided us with everything we could know. It was simpler, but also more frustrating and crowded. Any novelties had to struggle to get attention in that restricted environment.

The respect of which I wrote in “The noise of the soul” is a timeless question: how do we approach a new and unknown music or a style unknown to us or, perhaps, against which we are prevented?

My answer is that any musician who makes music – even the most commercial and pop-oriented instrumentalists or the authors looking for a hit – have devoted time and energy to creating something that deserves listening without judgments. In fact, I firmly believe that the more we listen and we stifle the instinct to express an opinion, the more we will learn. This, however, is also valid outside music, in all relationships, personal, professional and even political: listening and thinking and showing respect before speaking always has advantages. Still, think about how politics are discussed on television, at least in America. Everyone talks and shouts simultaneously and who is listening?

According to the formidable producer Quincy Jones, there is a reason why God gave each of us two ears and a mouth. Because we should listen twice as much as we speak. Amen.”

For a few years you were the tour manager of the African group Ladysmith Black Mambazoo. From your words it emerges that this experience in the last years before the end of apartheid has profoundly affected you.
Recently a great musician has disappeared whose name is Hugh Masekela who was a symbol of the lot against apartheid and an icon of African music and original jazz. What do you think about the fact that in the contemporary scene symbolic figures like Masekela are now endangered?

“In what way is the symbolic role of Hugh Masekela – or was – in danger? Are you referring to his spiritual heritage? It does not seem to me in danger at all. I think Hugh was extremely proud of the music he created, of the impact he had on the world, of his role in the explosion of Graceland, of when he had played with Paul Simon in the 1980s, and of his own career that he carried on until a cancer at the beginning of the year if he got it. He was celebrated in life and was honored when he died and will be remembered by the hundreds of thousands of people who saw him play or who heard his music in one way or another.

I know that I will never forget it. I remember he once explained to me why, at the height of apartheid, when the situation of South African blacks was terrible, their music was so happy and full of joy. “Because we have already won,” he said. And he was right. “

Have you ever met Frank Zappa? What do you think of the role he has had in the history of music and what could be considered his legacy?

“I would have liked. I am a big fan of his music, his spirit, his sense of humor and his autobiography. In my opinion, it is still one of the most intelligent and passionate books written by a musician I have ever read. And to say that he was considered a gruff. After answering your questions, I will listen to your wonderful Hot Rats record. Thank you for mentioning it. “

Let’s talk about jazz. Today the scene is very lively and revolves around two city-laboratories for new trends, Los Angeles and London: on the west coast you play jazz contaminated with hip-hop while in the capital city the Caribbean sounds are mixing with the return of British jazz. Is there a risk that such movements become fashionable and lose their identity?

“I do not care about what is fashionable or whether it has an identity or not. This question has to do only with the way music is classified in one geographical area rather than another. Music always melts everywhere. Pure music does not exist. Point. Every sound and every style is a fusion. I must say that the use of the word “contaminated” implies an area of music criticism and a way of thinking about music from which I prefer to keep away, thanks. “

The book "The noise of the soul, writing about jazz, rock, blues" by Ashley Kahn

Alice Coltrane, an extraordinary character with a profound spirituality.
Last year the label of David Byrne, Luaka Bop, published a collection of unpublished The Ecstatic Music of Alice Coltrane Turiyasangitananda curated among others by his nephew, the producer and musician of LA Stehpen Ellison aka Flying Lotus.
How do you see this parable of the Coltrane family, from the beginning of free jazz to the abstract electronic hip-hop?

“It is well known that the McLeod family of Detroit is very musical; as are many other families. If a story can be found in their story, it is in the fact that there is an early musical education and a precocious creative expressiveness that have great value, that we should start at home and among relatives and continue to school and other aspects of experience of all children.

The secret of the McLeod family is similar to that of many other Detroit families: parents supported children who wanted to learn music. Some arrived later than others: saxophonist Ravi Coltrane started as a teenager and is now a leading musician here in New York; his elder sister Michelle is a singer in Los Angeles. They also benefited from their mother’s dedication to music, as well as their spirituality.

Margherita who lives in painting

To meet Malgosia Levittoux ( Margherita for Italian friends) is to meet an art medium , able to put you in touch with the beauty that surrounds us and that too often finds us distracted. It happened to me. And that attendance has not stopped anymore. It all started in the Viterbo Tuscia.

A few years ago, in Bolsena
I pass in front of an exhibition space of the Municipality by bicycle and catch some suggestive images with my eyes. I still do a hundred meters, then I go back. I get off the bike and go inside.
Some are images of the Lake of Bolsena: intense watercolors that tend to summarize the whole lake in an emotion that changes from time to time, solar or frowning, but with a gust, always, of magic and mystery.
Then there are the oil paintings: colors now ringing of a lush and triumphant land, now more mellow, intense, compact, in landscapes of severe and mountainous charm. And also portraits of a Nordic expressionism softened by compassion, in the literal sense : an intense and supportive participation. And scattered woodcuts, in black and white, in which the canons that refer to Die Brücke are evident.
No, definitely not the exhibition of a willing local painter, as you often see them in the municipal galleries in the summer. There is the hand of an integral artist: a blonde woman with light eyes, dressed in the same green as the pictures and, on him, the smell of earth, aromas and vegetables. It can not be that she is the author, she is that painting. She is Margherita Levittoux. We introduce ourselves; I have little time for pleasantries because I’m leaving. I invest it with my enthusiasm for what I saw, I tell you to leave me “that mountainous landscape” (of the Pyrenees) and “that watercolor” (of the Lake of Bolsena); “In a month I will come to collect them”. I exchange contacts with Margherita, I do not know if she is more happy or more perplexed by this singular lightning bout. And I’m leaving, because I’m guilty of being late.

Landscape of the Pyrenees
A few days ago, in Sorano
Italy has many places of great beauty. Someone even enchanted, in the sense that there is a kind of metaphysical suspension. The Orsini fortress in Sorano is one of these. When you cross it and you head towards the terrace, where a small hotel de charme nestles (Hotel della Fortezza), a Sorano is revealed, seen from above and glimpsed: a village drowned in greenery.

Sorano from the Orsini Fortress bis

In this context of enveloping and generous nature, until October 2 , Margherita exhibits (in the upper part of the Fortress) an anthological one. In the exhibition the paintings painted in Italy prevail, because this Polish wanderer of French origin (as the surname denounces), after passing through London, Paris and a long stay in the French Pyrenees, decides to go down to Italy to understand what is there Florence and Rome. And, arrived in the Etruscan area, the light that surrounds it and the atmosphere that “hears” the enthusiasm, indeed the erotizzare to such an extent to induce it to stop and take root: in the Municipality of Acquapendente, locality Falconero. Here and in the surroundings will be born the paintings that give the name to the exhibition: “Paintings by Falconero” .

Painting must be cultivated. Literally
“If you have a vegetable garden next to the library, you do not miss anything,” said Cicero. Margherita is an extraordinary garden-gardener and has what it takes to paint: she does not lack anything, to paraphrase Marco Tullio. She does not lack anything to be a medium between us and the nature she paints, between us and those human landscapes that she carries on the canvas , unveiling them: how much life there is in the face without reticence of this woman, how much erotic tenderness in these rocky and together tender lovers.

His canvases are full of energy: overflowing and solar with yellow radiating or inner and restless with visceral greens. A painting built with simple elements that then dig deep. It takes inspiration from the daily life of the garden, from the harmony of the garden, from a casual encounter, from the contrasts of light and shadows, from the magic of the Lake Mezzano landscape that makes every element light (water, sky, earth), to send us the amazement of life around and solicit the practice, now neglected, of reflection.


In this, Margherita reminds me of her great fellow countryman: the poet Wislawa Szymborska who, starting from even the slightest events of everyday life, leads to a different point of view, widens the cognitive horizons and surprises you with new unexpected awareness. Like the poetry of Szymborska, at every rereading, offer more in-depth interpretative keys, the paintings of Levittoux surprise with a perspective that had previously escaped, with a detail that was not such, with the cry or whisper of a color that had previously been dominated by other inspirations.
Sometimes his painting seems to become more liquid, then almost evaporate, evolving towards some form of abstractionism in which the figurative begins to lose its contours; but then the decisive and almost aggressive color swords still testify to the need for Expressionist echoes, happily contaminated with Mediterranean light.

Margherita, Tuscia and harmony
If you have not had the chance or time to go to Sorano for the show, nothing is lost. Sorano stands there, clinging to its tuff rocks and waiting for you to give you the charm. Margherita you can discover it in her country-home-studio in Falconero, moving to Acquapendente, the northernmost village of the Tuscia viterbese: you will discover a surprising place where the artistic production is not only made up of paintings, but also vegetables, flowers, smells , green harmoniously arranged by Margherita around the house but also inside it. In the bedroom a composition of pumpkin, aubergines, cucumbers in a basket, enhanced by the chiaroscuro of a blade of light, is never a coincidence. Like the paintings between the pots and the pots between the paintings: it is creatively organized disorder because the beauty must be around, before finding a place on the canvas.
Margherita feels she owes much to this land and this gratitude unites her to Luciano Nucci , president of the Sorano Dairy, who sponsored the exhibition “Paintings by Falconero”, because he feels indebted to his territory; territory that wants to contribute to promoting even promoting those who, like Margherita, the spirit of the places has metabolized it and knows how to interpret it and propose it again in an organoleptic narrative that awakens and engages all our senses.
Because Margherita does not actually paint; she, in painting, lives there.

A Day In The Life: the story of an Art.

Imperial China in scarlet lanterns, outside a Napoleonic palace in an alleyway of Italy. The Dannunzian poetry in hand-forged metal blades next to busts sculpted in Majella stone. We are in Lanciano , an Abruzzo town with a noble and rich history. A man sits on the threshold of an ancient arched door and tells himself. When it does it has something to express: feelings, passions, honors and disgraces.

The important concept is that the thoughts it expresses are authentic, honest and originated from an inner analysis and from (at least profound) knowledge and partly acceptance of one’s own being.
The nobles of mind, when they tell each other, doubt the most banal certainties and create space and time to make themselves, and to make questions, even obvious obviousness, thus building a debate, an opening.
This man has decided to open up little by little. An artichoke with a hostile and armored rind but with a tender heart full of nourishment.

Il Maestro chiacchiera con Dante

The Master chats with Dante

I’ve known him for some years now and I’ve managed to catch only a few nuances of his multifaceted and pungent personality. I would call it astonishing, in the sense that it might astonish me at any moment, in every instant of the universe.
He is an antiquarian, painter, artist and scholar. It has an immense collection of objects, which contain much of the culture of Abruzzo and Italy, from pieces that belonged to Gabriele D’Annunzio to necklaces made of human phalanges.

Prefers to remain anonymous:

I was born at the Renzetti di Lanciano Civil Hospital, on 2 June 1947. My first child of a large family, my mother did not yet live eighteen.
I weighed a lot, so I was born with the scissors, “I was born with the irons” [ Lunatico ] used to say once.
I had to call Biagio, like my grandfather, but since my father had a quarrel with him before I was born, he gave me another name at the end.

My father was a cabinetmaker. I was born in a workshop with a smell of sawdust and I define myself as the son of sawdust . I associate the sound of the saw with the fragrances of walnut, pine and cherry.
Shutters, furniture, trunks were built in the shop. In order to collaborate I finished them, polished them and painted them.

Then I started to work as a painter, a seasonal job at the time. It had been working since before Easter Monday because it was in use to “clean up” the house after the winter, as the walls were stained with the fumes of the fireplaces, the braziers and the stoves. All until October, when it was not practical to repay the house because the color did not dry, sometimes freezing.

Una stanza della bottega del Maestro A room in the workshop of the Master

In this logic of seasonal work in October I returned to the shop.
Reinvestivo what I earned the summer in objects to restore the winter.
I bought the things I liked first of all for myself ; sometimes it could be a piece of furniture to be restored or sometimes paintings, extravagant objects and so on.
Slowly I began to collect, then becoming Antiquarian.
I think that my objects have signed an era and will sign others, outside of us.
They are testimonies and history of a track.

So I unearthed this stuff, to which I returned the dignity of the salon. I was reminded of antiquities from all parts of Italy. I came in possession of two florets belonging to Gabriele D’Annunzio as well as I have a painting, which portrays the Poet Vate, presumably painted by Francesco Paolo Michetti .
Antiques is a world that for many can be mysterious. There are people who appreciate it (and I say that they are endowed with poetry), while others consider it all as “old and soulless” (these can not be called poets).
You know, there’s the famous saying: “The old stuff ends up in the crazy house”.
Well, I avail myself of the power to be crazy !