Fondazione Valentino Garavani e Giancarlo Giammetti Unveils First Exhibition in Rome

ROME –

The imposing stainless steel “Balloon Venus Lespugue” by Jeff Koons coated in bright red standing at the entrance of the
Fondazione Valentino Garavani e Giancarlo Giammetti
sets the tone for the first exhibition being staged at PM23, the new home of the foundation.

While it may not be surprising that the exhibition “Orizzonti/Rosso [Horizons/Red]” hinges on the color closely associated with the couturier’s designs over five decades, the display and range of the 30 art masterpieces in the collection venue are absolutely striking.

“We wanted to have the best, the most important artworks possible, the ones I would love to have at home,” Giammetti, who is actually a keen collector of fine art with
Garavani,
said during an interview ahead of the official inauguration of the exhibition, scheduled for Sunday. Indeed, he said three of the art pieces were from their personal collection, while shy about naming which.

“This is the beginning of a new moment in our lives,” said Giammetti, adding that, a day earlier, Garavani, who turned 90 in 2022 and is now leading a private life, had toured the exhibition and was “deeply moved by the end result.”

“I love beauty, it’s not my fault,” Garavani famously said when filmed for the Matt Tyrnauer 2008 documentary on his life,
“The Last Emperor,”
and the phrase is now spelled out on a tall stainless steel and wood work by the sculptor Joseph next to Koons’ “Venus.”

“‘Beauty creates beauty’ is the guiding principle of the Fondazione, it’s at the center of it all, as inspiration and progress,” Giammetti said. “Our life was inspired by beauty and we want to give back and create even more beauty.”

PM23 is titled after the location of Palazzo Gabrielli Mignanelli at Piazza Mignanelli 23, close to the historic site.
Valentino
The headquarters are located in Rome within a late Renaissance-style palazzo constructed circa 1575 close to the iconic Spanish Steps. Although the Valentino fashion label operates as an independent enterprise distinct from the foundation, Giammetti mentioned that clothing pieces come from this location.
Valentino
archive, which remains the property of the couture house, were part of the exhibition.

The foundation was established in 2016 as an entity with a philanthropic mission, and after one year of conservative restoration works as a multidisciplinary space covering 10,800 square feet, PM23 is the “beating heart of the cultural activities of the Fondazione,” Giammetti said. It is committed to three key pillars: the support of social and philanthropic initiatives; enhancing the arts and culture, and talent education and backing.

Asked about his passion for art, Giammetti said his first purchase as a young man was a canvas by Lucio Fontana – one of his signature cuts in white. Also, “I knew Pablo Picasso’s tailor in Milan, who was paid in paintings so I bought two back then,” he recalled with a smile.

Later, he and Garavani became friends with Andy Warhol and Jean-Michel Basquiat. A painting of the designer by Warhol is part of the exhibition, as are two large-scale works by the latter, “Untitled” (1982) and “In This Case” (1983) representing the peak of his artistic output, where a linear crepe couture gown from the fall 2002 season is juxtaposed with “the euphoria of the paintings. We did not want to display only fashion, that kind of exhibitions remind me of Madame Tussaud, they must be more alive,” said Giammetti.

Indeed, Giammetti revealed that he would like to stage an exhibition revolving around the friendship with Warhol and Basquiat. He shared some memories, including how he put Warhol in touch with Franco Rossellini to play the titular role in the 1974 film “The Driver’s Seat,” with Elizabeth Taylor. An exhibition of cinematography is also on his list.

“Our goal is to hold one or two exhibitions per year and dedicate some months to workshops and contests to help young talents find their voice and provide them with scholarships,” Giammetti said. To this end, he said he was working with Portuguese artist Joana Vasconcelos “for one of the educational exhibits on fabrics and embroideries.”

For the inaugural exhibition, the curators are Pamela Golbin, previously head curator of the Department of Fashion and Textiles of the Musée des Arts Décoratifs in Paris, and Anna Coliva, previously director of Galleria Borghese, respectively in charge of fashion and
art
.

“Red stands as the quintessential color, the earliest hue that people figured out how to produce and replicate, starting from paintings and eventually moving into dyes. It holds significant power due to various factors. However, this exhibit isn’t aimed at fostering dialogue or conversation between artworks; rather, it focuses on examining art and fashion through the lens of red—a shade that truly embodies Mr. Valentino’s heritage,” explained Golbin.

She highlighted that “it’s remarkable how a connection still forms regardless, since the design aspect from Mr. Valentino remained consistent—beauty begetting beauty lies at the core of this establishment. This interpretation of beauty is deeply individualistic and profoundly personal, ultimately coming full circle.”

The Goblin was excited about discussions with Giammetti “since he possesses such profound knowledge. For him, aesthetics hold immense significance, and he remains consistently receptive to different perspectives as they enhance his understanding. Given that this project revolves around Mr. Valentini and Mr. Giammetti, it was crucial for their viewpoints to be integral at each phase of development. This truly honors both individuals, making the entire experience exceptionally special.”

The exhibition explores five horizons – the definition of beauty, identity, emotional landscapes, surface treatment, and the connection to dreams, and “we’ve gathered paintings that explore each of these themes.”

Golbin said she was allowed freedom to select the garments, which total 50, so that they would not be extraneous to what surrounds them in terms of dates or silhouettes.

In one room stands the first red dress designed by Garavani, the hourglass-shaped cocktail dress “Fiesta” dating back to 1959, together with his last, from the couture spring  2008, surrounded by works where red is reimagined in numerous abstract variations, pierced or slashed by Fontana; squeegeed by Gerhard Richter; burnt by Alberto Burri;  stained by Helen Frankenthaler;  troweled by Clyfford Still, and layered by Mark Rothko. A standout is also the 1932 “Le Repos,” Pablo Picasso’s portrait of Marie-Thérèse Walter,  the only figurative painting here.

All of the dresses are seen 360-degrees, “like a sculpture. You can walk around, and this is something that I’ve always wanted to do, as it creates such an intimacy in this space that I think people not only will be respectful, but will be blown away by this intimacy,” said Golbin.

The mannequins, inspired by Natalia Vodianova, enable guests to examine Garavani’s innovations in various bodily regions like the neck, shoulders, arms, or back, with each neckline being presented in constantly changing designs.

She highlighted the enduring quality of the designs. “It’s impossible to determine when each dress was made. What makes Mr. Valentino’s creations particularly fascinating is his consistent production of red dresses, starting as early as 1959 and continuing all the way until 2008.”

“Not only does red make a woman feel amazing, but it also makes her look stunning. Ultimately, everything revolved around the woman. This was what captivated Mr. Valentino. He focused on designing clothes that would allow women to feel fantastic. Trends were never his primary concern. Interestingly, by 1959, when he returned from Paris, most of his distinctive style had already taken shape,” noted Golbin regarding Garavani’s time working under designers like Jean Dessès.

Golbin explained that Garavani’s distinctive style becomes evident during the visit, adding that this occurs at a moment “when fashion often serves merely as a marketing tool. It highlights how beauty, sophistication, and enduring appeal converge, offering an essential lesson for contemporary times to redefine standards.”

Other notable artworks include, for instance: Francis Bacon’s “Sand Dune”
”
(1983) and Marlene Dumas’ “The Red Room” (1994); Warhol’s use of bold red and layered techniques  in  his “Self-Portrait” (1966–1967); Cy Twombly’s “Untitled” (2007); Damien Hirst’s “She Loves You
”
(1997), and a specially commissioned, site-specific large-scale work by Franco-Canadian artist Thomas Paquet that envelops and frames a beautiful selection of Valentino gowns.

Some of the works were lent by private collectors, others from the Fondation Louis Vuitton or the Fondation Beyeler, to name a few.

When asked about his thoughts on the present state of the fashion industry, Giammetti expressed a desire to see more fashion designers establish their own labels. He commended individuals like Simon Porte Jacquemus—a friend he holds in high regard—and Giambattista Valli. At the same time, he criticized what he termed “discontinuity with the codes of established brands,” referring to how frequently creative directors change positions. Additionally, he emphasized the importance of maintaining restraint and equilibrium within these companies: “Valentino was always skilled at knowing when enough is enough.”

A cocktail event is scheduled for Friday to celebrate the launch of the exhibition, succeeded by another cocktail and dinner on Saturday. During the initial ten days following the grand opening, admission to the exhibition will be complimentary for everyone.