This art icle was downloaded by: [ 71.234.63.128] On: 18 January 2015, At : 08: 10 Publisher: Rout ledge I nform a Lt d Regist ered in England and Wales Regist ered Num ber: 1072954 Regist ered office: Mort im er House, 37- 41 Mort im er St reet , London W1T 3JH, UK Journal of Modern Italian Studies Publicat ion det ails, including inst ruct ions f or aut hors and subscript ion inf ormat ion: ht t p: / / www. t andf online. com/ loi/ rmis20 Italian fashion: yesterday, today and tomorrow Eugenia Paulicelli a a Queens College and t he Graduat e Cent er, CUNY Published online: 13 Dec 2014. Click for updates To cite this article: Eugenia Paulicelli (2015) It alian f ashion: yest erday, t oday and t omorrow, Journal of Modern It alian St udies, 20: 1, 1-9, DOI: 10. 1080/ 1354571X. 2014. 973150 To link to this article: ht t p: / / dx. doi. org/ 10. 1080/ 1354571X. 2014. 973150 PLEASE SCROLL DOWN FOR ARTI CLE Taylor & Francis m akes every effort t o ensure t he accuracy of all t he inform at ion ( t he “ Cont ent ” ) cont ained in t he publicat ions on our plat form . However, Taylor & Francis, our agent s, and our licensors m ake no represent at ions or warrant ies what soever as t o t he accuracy, com plet eness, or suit abilit y for any purpose of t he Cont ent . Any opinions and views expressed in t his publicat ion are t he opinions and views of t he aut hors, and are not t he views of or endorsed by Taylor & Francis. The accuracy of t he Cont ent should not be relied upon and should be independent ly verified wit h prim ary sources of inform at ion. 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Term s & Condit ions of access and use can be found at ht t p: / / www.t andfonline.com / page/ t erm s- and- condit ions Journal of Modern Italian Studies, 2015 Vol. 20, No. 1, 1–9, http://dx.doi.org/10.1080/1354571X.2014.973150 INTRODUCTION Italian fashion: yesterday, today and tomorrow Eugenia Paulicelli Queens College and the Graduate Center, CUNY Downloaded by [71.234.63.128] at 08:10 18 January 2015 Abstract The article considers Gianna Manzini’s ‘La moda e una cosa seria’ (La Donna, 1935, July, 36– 37) as a forerunner of current scholarly approaches to fashion in general and Italian fashion in particular, for three reasons. First, it asserts the importance of a gendered history of fashion; second, it argues for the importance of boundaries and lines of demarcation in the study of fashion that do not pertain solely to time but also to fields, disciplines and the other arts, as well as social and political domains; third, it raises the question of the relationship between fashion and nation. In examining how and when to establish the beginning or the origin of Italian fashion, the article argues for a long history of Italian fashion that stretches as far back as early modernity, thus reframing a number of historiographical questions. The article goes on to signal the difficulty involved in establishing neat points of ruptures and origins, and continuities in any historical or cultural spectrum in view of the porosity of national boundaries; and makes the case for considering fashion, both today’s and that of yesteryear, in both its national and transnational dimensions. Keywords Fashion, nation, embodiment, clothing, gender, women, masculinity, Italian style, made in Italy, Chinese immigration, Italy, cultural capital, authenticity. The same kind of critical method with which we approach a novel, a poem, or when we write a review of a film or a drama should also be adopted when we approach the so little approached field of fashion. We should pay, that is, attention to fashion as a language, as a witty manifestation of form, as one of the several ways in which the physiognomy of a people or an epoch shows itself. (Manzini 1935, 37) This is what Gianna Manzini (1896 –1974), one of Italy’s most sophisticated modern writers, who started her career in journalism during Fascism, wrote in her article ‘La moda è una cosa seria’ (‘Fashion is a serious business’; 1935). Manzini advocates a rigorous approach to fashion. She seems to suggest that, to be productive, the study of fashion has to be extricated from its conventional q 2014 Taylor & Francis Downloaded by [71.234.63.128] at 08:10 18 January 2015 Eugenia Paulicelli collocation in the realm of the frivolous and relocated in a far more serious intellectually challenging and scholarly context. The article, however, after making its case for seriousness of methodology in approaching fashion, also touches upon the idea that, through clothing and accessories, fashion is an embodied experience that is culturally, socially and historically situated. In order to stress this, Manzini mentions the importance of the relationship between a customer and a tailor or dressmaker, and how it can reveal hidden features of an individual’s psyche. In this process of affective labour and the relationship that emerges from it, the article also turns its attention to clothes as material objects. Manzini deconstructs the meanings of the style of one of the dresses that illustrate her article. In concluding, she focuses on the power and history that are hidden in certain costumes and dress and mentions the famous painting by Bronzino of Eleonora da Toledo and her son Ferdinando. Of Eleonora’s dress, Manzini says that it acts as if it were ‘a program and a prophesy’ or a text that documents a whole epoch. Manzini, then, tells us that behind Italian fashion there is a long history that stretches as far back as early modernity or the Renaissance, one of the periods that in one way or another has been crucial for Italian national identity, which can also be defined in terms of fashion, and of course well before the nation state became a reality in the second half of the nineteenth century. Manzini’s article may be considered a forerunner of the current scholarly approach to fashion for three reasons. First, the article asserts the importance of a gendered history of fashion and the contribution made by Italian women to what was a global debate involving women in many different countries. As a consequence, Manzini is saying what Rosa Genoni (1867 – 1954), a dressmaker, writer, teacher, feminist and political activist, had said before her: namely, that fashion is something that demands to be taken seriously from a variety of perspectives (see Paulicelli 2004, 2014c). Second, it asserts the importance of boundaries and lines of demarcation in the study of fashion, which do not pertain solely to time but also to fields, disciplines and the other arts, and to the social and political domains that come into play. Third, it raises the question of the relationship between fashion and nation. How, for example, does one or can one establish the beginning or the origin of ‘Italian fashion’? Starting with the latter, let me examine these questions further. Italy as an idea and a nation existed much earlier than the nation state that resulted from the struggle for unification during the Risorgimento. As many scholars have agreed, the idea of Italy was first formed in Italian literary history as far back as Dante. Benedict Anderson (1991) has noted that ideas on nation and identity began to take shape with the print revolution and the creation of the vernacular languages that were to become national languages. Through this process, nations and communities were created in people’s mental geography and so became realities, tangible political entities before they were actualized in history. It is also at this same time that in Italy a debate about dress, codes of style, beauty and behaviour took place around sumptuary laws, conduct literature, 2 Downloaded by [71.234.63.128] at 08:10 18 January 2015 Introduction costume books, satires in prose and poems, etc. The ideas around dress were to be materialized in the creation of a language of dress and the body that in turn contributed to certify, first, that fashion as a social institution of modernity exercised power in the creation of taste, desire, consumption choices; and, second, that fashion and dress were intertwined with the idea of nation, identity and place. A striking visual example of this is the existence of geographic maps in which people in costume appear to accompany and illustrate the customs, habits and social codes of a specific nation or city. The widely spread genre of costume books, including such eminent Italian examples as Cesare Vecellio’s works (1590, 1598), are also a wonderful illustration of the relationship between fashion and space, cultural geography and anthropology. Within this wide European context, the case of Italy is particularly interesting as the peninsula’s various cities had very strong identities in terms of culture, architecture, arts and tradition in craftsmanship and textiles. In fact, the plurality of local traditions and knowhow was an important feature of what became known as ‘Italian style’, something we can see even today. This issue of the Journal of Modern Italian Studies takes as its starting point the Risorgimento, the time when the nation state became a political entity. Gabriella Romani’s article addresses specifically the relationship between dress, patriotism and national identity during this period. Other articles cover different and crucial times of Italian history, periods of great social, political and economic transformation such as Fascism, the 1930s, and Futurism and the textile industry (Pelizzari, Troy); the immediate post-war period and the international launch of Italian fashion in Florence (Belfanti); the 1950/60s and the emergence of one of Italy’s most iconic fashion designers, Emilio Pucci (Braun); the importance of the figure of the dress maker and a case study of the Grimaldi fashion house in Turin (Stanfill); the ready-to-wear industry in partnership with the Milan-based designer Biki (Merlo); and Chinese immigration to Italy and its impact on the fashion industry and Italian identity as a whole (Chen). But even though the articles in this issue deal with Risorgimento, postRisorgimento, twentieth- and twenty-first century Italy, the further past is never very far from their concerns. The fact that Italian fashion has a long history is evinced by the many references to the Renaissance or prima modernità contained in Romani’s article on the Risorgimento and Carlo Marco Belfanti’s on the launch of Italian fashion in the post-war years. The Risorgimento and the reconstruction of the post-war years were crucial times for the building of the Italian nation and its national identity. Different reasons lie behind why the past is evoked in these articles, but both are contingent on the demands of the present in which a certain past – such as the Renaissance – and certain features of that past are evoked. Vincenzo Consolo (1999), whose work has dealt greatly with Italian history, has spoken of a new genre, the romanzo storico metaforico. By this he means that any reconstruction or evocation of the past, as happens in the historical novel, becomes a powerful metaphor of the present in which it is written, and so the past that is evoked in the text calls into question the present that has produced it. 3 Downloaded by [71.234.63.128] at 08:10 18 January 2015 Eugenia Paulicelli It is interesting to note how something similar comes into play in the relationship between fashion, nation and narration. In the Risorgimento case treated in Romano’s article, the Renaissance is evoked to create a sense of self and pride for an idealized historical period. At the same time, the past is used to trigger the faith and enthusiasm required to sustain the struggle for independence and rid the nation of the foreign invaders. The Renaissance past becomes the conditio sine qua non according to which a new sense of self can be gained. In the post-war years, instead, the past became, as Belfanti calls it, a ‘Renaissance effect’, according to which the Renaissance became a form of spectacle and a marketing strategy for Italian fashion and identity that was facilitated by a number of factors and historical contingencies. Italy’s squares, palazzi and centri storici, where many fashion shows took and even today take place, were the perfect theatre where foreigners could find and have an authentic and spectacular experience of Italy. Fashion shows and parties were staged in the breathtaking beauty of Italian cities, especially Florence, which in the early 1950s took on the mantle of the quintessential birthplace of humanism and the Renaissance. In the popular imagination, the post-war years shared with the Risorgimento the idea of expelling foreigner occupiers, in this case in the form of the hegemony French fashion and chic enjoyed, while also making space for new alliances, such as with the United States. Still, we would be remiss not to recall the influence of the more recent Fascist past on post-war Italian fashion, especially the Futurist avant-garde artist Giacomo Balla, who makes a return, consciously or not, in Pucci’s designs, as Emily Braun’s article demonstrates for the first time. The Fascist past and some of the most radical experiments of Futurist design and art are a sort of spectrum that haunts Italy during the period of economic and cultural rebuilding. Braun’s essay reveals the aesthetic sensibility in colour, shape, concept and design that was shared by Balla and Pucci, this latter one of the quintessential icons of ‘made in Italy’ that was increasingly exported to foreign markets in the post-war years. The relationship post-Fascist fashion had with the nation’s Fascist past was, then, quite complex. Not even Futurists were exempt from such a complex relationship with the past in their project to create as Marinetti asserted ‘the reign of the man whose roots are cut’ (Gentile 2014, 170). If, on the one hand, the Fascist regime failed in its aim to nationalize Italian fashion and project a convincing image of modernity and glamour able to defeat the hegemony of Parisian/French fashion; on the other, as Virginia Gardner Troy’s and Maria Antonella Pelizzari’s essays show, what was achieved under Fascism were important experiments in textile and design (Depero) as well as in media, periodicals and photography. This temporal cross-referencing is testimony to the difficulty involved in establishing neat points of rupture and origin in any historical or cultural spectrum. Where exactly does one draw the line between the pre- and the post? Manzini is interesting exactly for this reason as she illustrates the difficulty involved in negotiating the relationship between present and past and the search for a new point of origin. In the volume La moda di Vanessa (Manzini 2003), 4 Downloaded by [71.234.63.128] at 08:10 18 January 2015 Introduction a collection of her articles on fashion published under Manzini’s nome de plume, Vanessa, the editor, Nicoletta Campanella – and perhaps as Manzini herself may have wanted – makes no mention of her journalistic work in the 1930s. In fact, Manzini became well known as a writer and reinvented a new journalistic identity for herself with a new name in the years after the fall of Fascism, tantamount to a post-war desire to make a break from the past. If, then, a historical picture has to be reconstructed, we would do well to recognize the porosity of temporal boundaries and to think of the historical narrative as a series of interacting points of rupture and continuity rather than as a series of clean breaks. Moving from time to space, we would also be well advised to be aware of the porosity of national boundaries and consider fashion, especially today’s fashion, but also that of yesteryear, in both its national and transnational dimensions. On closer inspection, what is known as ‘Italian style’ or paraded under the label of ‘made in Italy’ often turns out to be more multinational and less purely original than its name suggests. In the last few years, several factors such as immigration, berlusconismo, a profound economic and political crisis, the digital revolution, to give but an incomplete list, have triggered questions about personal and collective identities. At the same time, in our media and celebrity-driven culture, fashion has become ubiquitous and has taken on, especially in Italy, a high profile. This is reason enough to study fashion, the reasons for its ubiquity, its implications with history and its philosophical underpinnings (as is testified by the existence of Fashion Studies programmes in several universities). Although it is certainly true that Italian fashion was not born in 1951, it is since that year that it has been recognized internationally (Frisa 2011). This international recognition, which is crucial in the context of Italian fashion and national identity, did not happen by magic and above all did not happen overnight. So let us go back to the early 1950s and ‘the birth of Italian fashion’. The international recognition of Italian fashion was certified, facilitated and cemented by international relations between Italy and the United States, PR and business relations that were mutually beneficial during the Cold War. Fashion shows at the Sala Bianca or in the fashion houses themselves were more than just spectacles and exhibitions of beautiful young women wearing wonderful clothes. The fashion shows were a new genre of diplomatic performance.1 In this way, the bodies of models in the where, why and how of performance were not only presenting clothing but the embodiment of a new tangible, modern and attractive nation. Fashion shows performed a post-war Italian national identity that was dreamt of and much desired. Fashion, as a manufacturing industry and as a powerful symbolic force, acted for both the Marshall-planned Europe (Italy and France in particular) and the United States as ‘an economic and diplomatic rehabilitator’ (Stanfill 2015). Through the Marshall Plan, the United States exported $13 billion from 1948 to 1952 (Amerian 2014, 20). As Victoria De Grazia (2006) notes, American hegemony was built on European territory. At the same time, business and government officials made 5 Downloaded by [71.234.63.128] at 08:10 18 January 2015 Eugenia Paulicelli sure that European goods could appeal and reach the American market and thus fulfill policy and PR goals (Amerian 2014, 21). Nineteen fifty-one and Florence, though, were far from being the zero year and place of Italian fashion. In the same year as Giorgini organized the fashion shows at the Villa Torregiani in Florence, inviting buyers from the major US department stores Bergdorf Goodman, B. Altman and Lord & Taylor, as well as the press, an Italian exposition opened in Macy’s in New York City. The fair, which took up the whole of the fifth floor, was the result of 18 months of preparation. But this was not the only Italian event of that time. The previous year, in 1950, the show ‘Italy-at-work’ had opened at the Brooklyn Museum and then travelled to the Art Institute in Chicago in 1951. The well-known fashion houses of the Fontana Sisters, Fernanda Gattinoni, Irene Galitizne, Simonetta, and Fabiani, that grabbed all the headlines thanks to Giorgini’s lead were far from being alone. There were also other fine sartorie, such as Maria Grimaldi’s in Turin. Sonnet Stanfill sheds new light on this reality in her article, which comes out of the exhibition ‘The Glamour of Italian Fashion’, which she curated at the Victoria & Albert (V&A) Museum in London (April –July 2014). From the handmade of the sartorial, Italy was soon to make a huge jump into the industrial production of the ready-to-wear, as a result of which Milan became an internationally recognized fashion hub, as it still is today. Elisabetta Merlo analyses the important although difficult relationships between industry (GTF group) and the Milan-based fashion house of Biki. But Italian craftsmanship did not rely only on the existence of the dressmaker or sartorial expert. From the 1970s onwards, Italian fashion continued to develop, giving birth to the phenomenon of stilismo and the establishment of major global brands such as Armani, Prada, Versace, Dolce & Gabbana, to mention only a few. The most recent of these developments has been the new role given to creative directors rather than stylists. Calvin Chen’s article, which concludes the issue, poses several questions for the future of both Italian identity and fashion in the face of immigration and in particular the relations between Italian and Chinese communities in Prato. Global Italian fashion is now far more complex, plural and multifaceted than it ever has been (Goldman 2012; Rofel 2007; Yanagisako 2002; Segre Reinach 2005). Still, within the plurality and diversity of voices, local realities, histories, experiences and aesthetics, there are certain recurrent features that characterize the perception of Italian fashion and style. Reference was made earlier to the gendered history of fashion and the role of women. But no gendered history of fashion can avoid taking into consideration the study of men and masculinity. Menswear, the sartorial and new forms of dandyism are crucial in the production and consumption of fashion. Italy’s role in men’s fashion has taken on many forms in the blogosphere. Testifying to the growing market in menswear, one of the most prominent and influential online and London-based platforms, The Business of Fashion (http://www. thebusinessoffashion.com; founded in 2007 by Imran Amed), has recently 6 Downloaded by [71.234.63.128] at 08:10 18 January 2015 Introduction created a ‘menswear hub’ in collaboration with Pitti Immagine, a tangible sign – together with the very successful annual shows of men’s fashion held at Pitti Uomo in Florence – of this growing market. Several documentaries and films, including Paolo Sorrentino’s Oscar-winning La grande bellezza (2013) have been stages on which the sartorial mastery of the Neapolitan suit has been displayed (Cesare Attolini, for example, and also Luca Rubinacci, whose work was exhibited at the V&A). Italian menswear too has a history that reaches back into the past, and once again it is the Renaissance past. In fashion magazines and publicity, the Renaissance idea of sprezzatura is often referenced. Coined by Baldassarre Castiglione, author of the Libro del Cortegiano (1528), the term is now associated with coolness, masculinity and ideal style. It has triggered the creations of neologism such as ‘sprezzy’ or ‘sprezziest’. The growing blogosphere that dedicates itself to men’s fashion also reveals that today’s picture of idealized masculinity harks back to Italian Renaissance culture.2 As has been noted for the Risorgimento and for the post-war years, but in new and recognizable garb, the past returns as that on which the present’s new developments, needs and sensibilities are built. The rhetoric of the Renaissance has also been lurking behind the figure of the fashion designer, guru or entrepreneur, often seen in their self-presentations as a prince or a patron. Think, for instance, of Brunello Cucinelli and his luxury brand based in the town of Solomeo in Umbria. Cucinelli, which started out working in knitwear, has become one of the most successful Italian brands, whose image and philosophy are constructed by means of what its creator calls ‘humanistic capitalism’. Values of craft, respect for the environment, nature and organic food, artisanal work, culture and art are the ingredients of ‘Italian authenticity’, so greatly sought after by a creative international class. Indeed, what strikes the imagination and desire of the Cucinelli brand is the perception of the natural and the authentic as cultural capital, identified as such by Sharon Zukin’s (2010) Naked City, which discusses the notion of authenticity in the context of processes of gentrification in a number of New York neighbourhoods. Although the contexts are very different – Zukin specifically refers to the urban history of New York City – we can usefully explore further the ‘pursuit of authenticity’ that Zukin discusses in processes of urban restructuring and gentrification and link it with fashion and national identity. One of the most appealing factors Italy possesses in the eyes of foreigners is the idea of ‘authenticity’, a cultural capital that is linked to heritage and the past. One of the most pressing questions to be answered is how to reconcile in a productive manner the images of Italy and Italian identity that are couched in the minds of tourists or romanticized by immigrants with the day-to-day experience of the people who live, work and struggle to find their place in one of the most beautiful countries in the world, but which is now mired in a profound crisis. Is the ‘fine Italian hand’ going to survive? How can craft, that which Italy does best, be productively combined with innovation and technology? How can Italy best capitalize on its fascinating heritage to take a 7 Eugenia Paulicelli leap into a better future? Open questions, of course, but ones to which fashion could, as it did in the past, offer answers about how the nation is to play a major role in a new future. Downloaded by [71.234.63.128] at 08:10 18 January 2015 Acknowledgements I thank John Davis, the general editor of the Journal of Modern Italian Studies, for his enthusiasm and support for this special issue, and all its contributors for their hard work. I also thank Ernest Ialongo, who co-organized the workshop held at Columbia University on 11 October 2013 for this issue of the journal, at which most of the contributors participated. Thanks also go to Grazia D’Annunzio for taking time from her busy schedule at Vogue to present a paper at the workshop on Anna Piaggi, a key figure for Italian fashion. I also thank doctoral students Matilde Fogliani, Fabio Battista (both CUNY Graduate Center) and Matteo Pace (Columbia University), whose logistical help during the workshop was very much appreciated. My special thanks go also to our moderators, Jane Schneider, Michael Blim and David Forgacs; and last but not least to the many people who attended the workshop. Notes 1 See in this context, and for a comparative analysis, the work by Rustem Ertug Altinay Embodying Turkishness: Fashion, Performance and National Identity in Turkey (1923 – 2013), New York University PhD dissertation in progress. (2014) and his dissertation on the role of fashion and embodied practices in regulating the politics of subjectivity and belonging throughout the republican history of Turkey. 2 For a more in-depth analysis of the notion of sprezzatura, Italian identity and masculinity, see Paulicelli (2014a, b). References Altinay, Rustem Ertug. 2014. “Diplomatic Fashion Shows and Turkish Modernization.” Paper presented at the CUNY Graduate Center in a seminar, March 10, 2014. Amerian, M. Stephanie. 2014. “‘Buying European’: The Marshall Plan and American Department Stores.” Diplomatic History. Published online at: http://dh. oxfordjournals.org/search?fulltext=amerian&submit=yes&x=12&y=6 Anderson, Benedict. 1991. Imagined Communities: Reflections on the Origin and Spread of Nationalism. New York and London: Verso. Consolo, Vincenzo. 1999. L’olivo e l’olivastro. Milan: Mondadori. De Grazia, Victoria. 2006. Irresistible Empire. America’s Advance through 20th Century Europe. New York: Belknap. Frisa, Maria Luisa. 2011. “Modarama. L’Italia vista dalla luna.” In Moda in Italia. 150 anni di eleganza 1861– 2011, exhibition catalogue, 62– 67. Turin: La Venaria Reale. Gentile, Emilio. 2014. “The Reign of the Man Whose Roots Are Cut: Dehumanism and Anti-Christianity in the Futurist Revolution.” In Italian Futurism 1909 – 1944. Reconstructing the Universe, edited by Vivien Green, 170 – 172. New York: Guggenheim. 8 Downloaded by [71.234.63.128] at 08:10 18 January 2015 Introduction Goldman, Corrie. 2012. “Made in Translation: Stanford Scholar Explores Italian – Chinese Collaborations in Fashion.” December 21. Accessed August 8, 2014. http:// news.stanford.edu/news/2012/december/italian-chinese-fashion-122112.html Manzini, Gianna. 1935. “La moda è una cosa seria.” La Donna July: 36 – 37. Manzini, Gianna. 2003. La moda di Vanessa, edited by Nicoletta Campanella. Sellerio: Palermo. Paulicelli, Eugenia. 2004. “Fashion, Culture and National Identity. Rosa Genoni and the Futurist.” In Fashion under Fascism. Beyond the Black Shirt, 27 – 36. Oxford: Berg. Paulicelli, Eugenia. 2014a. Writing Fashion in Early Modern Italy. From Sprezzatura to Satire. Aldershot: Ashgate. Paulicelli, Eugenia. 2014b. “Fashion: The Cultural Economy of Made in Italy.” Fashion Practice 6 (2): 155 –174. Paulicelli, Eugenia. 2014c. “Women, Fashion, Feminism: Rosa Genoni and Italian National Identity.” Paper presented at “Clothes, Working Lives and Social Change”, part of the Tailored Trades Network Conference, London, September 12 – 13. Rofel, Lisa. 2007. Desiring China: Experiments in Neoliberalism, Sexuality, and Public Culture. Durham, NC: Duke University Press. Segre Reinach, Simona. 2005. “China and Italy: Fast Fashion versus Prêt à Porter. Towards a New Culture of Fashion.” Fashion Theory 9 (1): 43– 56. Stanfill, Sonnet. 2015. “The Role of the Sartoria in Post-War Italy.” Journal of Modern Italian Studies 20 (1). Vecellio, Cesare. 1590. De gli Habiti antichi et moderni di diverse parti del mondo. [Libri due fatti da Cesare Vecellio]. Venice: Zenaro. Vecellio, Cesare. 1598. Habiti antichi et moderni di tutto il mondo. Venice: Sessa. Yanagisako, Sylvia. 2002. Producing Culture and Capital: Family Firms in Italy. Princeton, NJ: Princeton University Press. Zukin, Sharon. 2010. Naked City. The Death and Life of Authentic Urban Places. Oxford: Oxford University Press. 9