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Vivetta, the Italian designer who looks for order in fairy tales

Bowl haircut, blonde hair often discreetly accompanied behind the ears; a gentle voice, which calmly punctuates words, almost not wanting to disturb; even gestures are measured. The cream blouse with a wide square neck, however, betrays a playful attitude, the same one that instills in its collections.

Vivetta Ponti, the name is that of a Greek godmother, decided to design clothes not for a magical epiphany: "I wanted to be a painter, at that time of adolescence between 18 and 20 years, where you start asking yourself which direction you want to take your life. Then I thought the idea seemed sad."

If Vivetta has become a synonymous brand of a certain playful fashion, a tribute to the surrealism of the 20s by Dalí, Buñuel and Elsa Schiaparelli - from the necks on which the perfectly lacquered fingers of the beginning were embroidered, to the swans on the tunics in painted macramé inlaid, passing through the butterflies on the bodices in hand-embroidered tulle of this summer season.



The reference silhouettes are vaporous, feminine, clearly inspired by the 50s and 60s. "Now I also appreciate more slipped volumes, which look at the Seventies, but I think that elegance is unattainable, also because it was a mass style, adopted by everyone, unlike what happens today. Despite what you might think looking at my clothes, cheerful, almost fairy-tale, I am an extremely orderly person, and in that style worn by everyone at the time, I see the order. It is no coincidence that my reference model is Catherine Deneuve in Bella di giorno, a film from the 60s directed by Luis Buñuel, inspired by the 1929 novel by Joseph Kessel."

With the same irony with which Elsa Schiaparelli drew lobsters on evening gowns, Vivetta inlaid on the wide-legh trouser some kind of bows that actually reveal the outlines of a face, while the mini dresses draped in organza with a liquid effect d, on which bloom bouquet of hydrangeas, ruffles and rosettes. A spectacular, showy yet innocent vision of femininity that has democratically conquered Lady Gaga, Karlie Kloss and Zendaya.

But before finding and using his voice, the necessary incubation was a Florence, by Roberto Cavalli. "A style, that of Cavalli obviously very different from mine. There was a lot of work, it was half of the 2000s, the moment of the boom for the brand, it came even earlier and it didn't come out before midnight. But I am allowed to learn, in the part of the graphicathers, the denim was printed with trichlorethylene...it was fun and educational."