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Tag: Milan

  • Armani at heart of new doc examining birth of Milan fashion

    Armani at heart of new doc examining birth of Milan fashion

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    Giorgio Armani and a slew of fashion CEOs turned out Sunday for a premiere of documentary “Milano: The Inside Story of Italian Fashion,″ by Emmy-winning filmmaker John Maggio.

    The documentary gives due credit to Armani for putting Milan ready-to-wear on the map in the 1980s with the creation of the deconstructed jacket that made menswear sexy and relaxed, as epitomized by Richard Gere in “American Gigolo.”

    “Fashion made me grow up and become someone. It was not easy initially, as I didn’t feel up to it, but slowly I gained courage to want to be someone in this adventure,″ Armani said upon arrival at the premiere.

    The 88-year-old designer, who presented his latest womenswear collection earlier in the day, received an enormous round of applause at the start of the film, when producer Alan Friedman introduced him to the very-fashion crowd as “the man without whom today Milan would not be the capital of fashion.”

    The documentary also recounts the competitive tensions between Armani and his classic elegance and Gianni Versace, who helped fuel the super model era with his more overtly sexy collections.

    In the documentary, former Gucci creative director Tom Ford and ex-Gucci CEO Domenico De Sole discuss attempts to merge Gucci and Versace, which ultimately failed after Versace’s 1997 murder under the insistence of his sister, Donatella Versace, that she remain at the creative helm.

    In the intervening years, Gucci, along with many other Italian family-run companies have been bought up by French conglomerates, and Versace is now part of the U.S. group Capri Holding. Italy has failed to come up with a fashion group of its own to challenge the French dominance; fashion houses like Armani and Dolce & Gabbana are among those that remain staunchly in family hands.

    The documentary is expected to be released on a streaming service later this year.

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  • Prada offers spare, cleansing looks at Milan Fashion Week

    Prada offers spare, cleansing looks at Milan Fashion Week

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    MILAN (AP) — The Milan menswear runway was full of spare looks for next fall and winter, as if the fashion world is taking a deep breath, to see what happens next.

    The color of the season: Black. The silhouette of the season: slim or relaxed, but mostly tailored. Bags: Utilitarian. Shoes: Oversized and sole gripping. Still, all of this utility was punctuated with romantic, feminine and even sexy gestures.

    Here are some highlights from the third day Sunday of mostly menswear previews for fall-winter 2023, as many big brands seemed to be hitting the reset button:

    PRADA’S RETRO-FUTURISM

    The ceiling on the darkened Prada showroom rose to reveal industrial chandeliers as the first looks appeared on the runway: tailored, slightly blocky suit jackets with sharp, wing-like collars that flapped gently with each step, secured and cushioned by just a wisp of colorful knitwear.

    The collars, reminiscent of the 1930s or ’70s and in retro geometric prints, gave a romantic touch to an otherwise spare and cleansing collection by co-creative directors Miuccia Prada and Raf Simons.

    “There is no space for useless creativity,” Prada summed up backstage.

    The sharp collars, which appeared also on cardigans, are detachable, giving garments a longer life, and utility. On the runway, they were sexily styled without shirts.

    The pair continued their exploration of uniforms, the sort that exemplify the value of working and not projecting authority. In that vein, suede tunics with matching overcoats recalled an artisan’s apron, worn with a shirt and tie to emphasize the virtue of work, and over the season’s slim trousers.

    The clean looks and minimalist tailoring had an intentional retro-futuristic feel, that Simons defined as “very Prada, in my opinion.”

    Puffer coats had a rotund shape. Quilted T-shirts kept the torso warm under overcoats. Shoes were thick-soled lace-ups with raised piping. Bags were slim document or computer bags, with a thermos slot.

    Suiting was mostly black or gray, with separates providing color: trousers in red or green, cerulean blazers, yellow and pink cardigans.

    Even the venue at the Fondazione Prada was stripped of artifice, down to the concrete floors and walls and ceiling, which dropped back down as the models left the runway.

    Outside, hundreds of screaming K-Pop fans greeted the Enhypen band as they arrived for the show, and a few were rewarded with selfies afterward.

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    SIMON CRACKER PAYS TRIBUTE TO VIVIENNE WESTWOOD

    The designers behind the Simon Cracker brand paid tribute to Vivienne Westwood’s legacy during a runway show presenting their latest collection of upcycled garments.

    “We are here thanks to her. She was the first to make garments from upcycling,” said Filippo Biraghi, who founded Simon Cracker with Simone Botte in 2010.

    “We studied her, we wore her, we lived her and we feel allied,″ Biraghi said of the British designer who died last month at 81. “She used fashion to protest, as a language of protest, for her entire history.”

    Following in Westwood’s upcycling footsteps, the designers collect unclaimed garments from drycleaners and textile remnants from producers to make their unique creations.

    In this punk-inspired collection, each garment is one-of-a-kind, promoting nonconformity. Caps served as epaulets on jacket shoulders; a mini-skirt was fashioned from tiered ruffles in the front and netting in the back; handmade blankets became overcoats. Knitwear was made from recovered yarn and in collaboration with designer Gaia Segattini.

    In the spirit of Westwood, the show closed with a model swathed in a tulle garment with the words: “Demand the Impossible,” emblazoned on the front. The garment was a collaboration with Jamie Reid, the art director of the Sex Pistols, who donated clothes from his “Ragged Kingdom brand,″ for the final looks.

    For the finale, all the models wore photos of Westwood around their necks. Biraghi, who wore a T-shirt picturing a joyful Westwood on the front, turned to reveal another image of her scowling on the back.

    The designers said their messaging, one that has been with them since the brand’s inception, has grown more urgent, citing the danger to the planet and “the system’s mockery.”

    “There is something wrong if you are not pissed off today,” Biraghi said.

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    CHARLES JEFFREY LOVERBOY’S IMAGINED WORLDS

    Charles Jeffrey Loverboy, the label of the self-proclaimed club kid and Scottish-born designer Charles Jeffrey, brought joy to the Milan runway with fanciful storytelling though knitwear, kilting and prints.

    Jeffrey presented his “Engine Room” collection through three subcultures in a mythical floating city: workers, whose toil keeps the city aloft; posers, or former workers who now bask in luxury; and snakes, aka, the media. While other brands hewed toward the minimal, Jeffrey went maximal, with a focus on sartorial details and an explosion of color.

    The workers were clothed in gray, black and white, faces smudged, with starry prints and clawed footwear. Posers burst with color, including graphic prints from the archives of the Scottish artist and playwright John Byrne, metallic accents and endearing knitwear with kwai detailing like hoods with ears. The snakes had a Goth edge, dark garments giving way to newsprint prints against a black-white-and-red (read) palette.

    Jeffrey called the collection “a celebration of Scotland, workers and Renaissance people.”

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  • Dolce&Gabbana, Fendi ready to party in Milan

    Dolce&Gabbana, Fendi ready to party in Milan

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    MILAN (AP) — Milan is ready to party, with menswear shows for next spring and winter focused on nighttime tailoring with playful accents. Think sparkles and glitter, fun silhouettes that invite shadow dancing, and sexy peeks at skin with tailoring tricks once reserved for the female wardrobe.

    Some highlights from Saturday’s shows on the second day of Milan Fashion Week.

    DOLCE & GABBANA BACK TO BLACK

    If you just looked at color, it was back to basics at Dolce&Gabbana: The entire collection for next winter was in mostly black monochromes, all the better for nighttime play. Gray and white monochromes played a supporting role.

    While light on bling, the looks were anything but basic. Designers Domenico Dolce and Stefano Gabbana created a collection built around tailoring, with the late-night synchronic club beats in mind.

    Long overcoats or dramatic capes will get you to the club door. Inside, men’s corsetry, obi belts and cummerbunds cinch the waist, a silhouette that is mimicked in the dramatic hourglass tailoring of coats and jackets with curved waistlines and broad shoulders. A strobe light picks up the sparkles and glitter on garments, and sheer tops and muscle knitwear show off physiques.

    Machine Gun Kelly and Italian singer Blanco were among the designing duo’s front-row guests.

    FLY AWAY WITH EMPORIO ARMANI

    Giorgio Armani has been on the global fashion map for more than four decades. His latest collection for Emporio Armani traced a literal map of his adopted Milan, with models walking the perimeter of a circular runway giving a bird’s-eye view of a map of the fashion capital’s historic center.

    The collection was inspired by aviation, and there were tailoring traces from the golden era of flight when dandies like Charles Lindbergh made history with solo crossings of the Atlantic.

    A belted gray jumpsuit with a furry collar, aviator’s cap and thick boots set the tone. Once he lands, there are muted plaid suits with trousers cropped just above the boot — the invention of the season. Gear is stowed in satchels and nautical bags.

    Cozy knitwear paired with leather trousers and jacket, some with antique finishes, cut an adventurous silhouette. But the real dandy comes out in colorful daywear, including a beautiful wrap coat in elegant camel, velvet jackets in deep hues and silken shirts worn with foulards in bright accent colors like magenta, purple and mauve.

    Leather harnesses and utility belts added an edge. Pouches are belted on top of boots. Mirrored aviator glasses complete the look.

    Armani, 88, good-humoredly picked up a pouch that had dropped from a model as he greeted the crowd at the end of the show.

    FENDI FLASHES SOME SKIN

    The Fendi collection for next winter flashes skin in ways once reserved for women.

    One shoulder tops — both knit and button down – bare skin to give sexy drama to the looks. Knitwear was super sheer, barely there. A little layering restored some modesty, for the office, but could easily be undone for an evening transition.

    Long coats incorporated a wrap-around asymmetrical cape, a tailoring trick mimicked in trousers with a wraparound one-sided skirt. The effect was cozy and enveloping, offering a cocoon as we venture back out into the world.

    Fendi whimsy was on full display in the knit caps: one shaped like a cartoon-cool wig featuring a perky flip, or another beanie with fringe on the back. Capes and sweeping coats and scarves likewise finished with fringe. Bombers had an antique, worn feel. The color palate was mostly low-key tones of gray, oatmeal and burnt umber set off mauve and lavender. Graphite beading caught the light on evening looks.

    K-WAY CELEBRATES PARISIAN HERITAGE

    The Franco-Italian active wear brand K-Way imported a bit of its Parisian birthplace as the backdrop to showcase a new collection as it charts a transition to a lifestyle brand.

    K-Way’s trademark packable raincoats were inspired when brand founder Leon-Claude Duhamel spied two children wearing red Nylon raincoats while sitting at the Cafe de la Paix on a rainy day in 1965. To honor that heritage, the Italian owners borrowed original cafe tables and wicker seating from the Parisian landmark. Duhamel himself, now in his 80s, joined the fashion crowd sipping champagne and nibbling cream pastries in the recreated cafe.

    Sales vice president Lorenzo Boglione, whose family controls the BasicNet parent company, is helping the company navigate the brand’s transition, with plans to produce technical gear for sailing and skiing.

    “We really want to remember where we come from and celebrate that moment. We have to remember where we come from to know where to go,” Boglione said. “We want to be colorful, we want to be functional, we want to be modern.”

    That means not just focusing on outwear. The new collection included cropped puffer jackets in tight accordion pleats, Yeti-style short coats with matching boots that layer over slim body suits or quilted short-shorts and tops. Long puffer coats, including as enveloping as a sleeping bag, paired with detachable hoods or furry collars. The brand’s distinctive zipper acts as a logo, providing accents along with function. The color palate hewed toward K-Way’s traditional orange and blue, with some white and green.

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  • Armani, Kapoor bring tranquil close to Milan fashion week

    Armani, Kapoor bring tranquil close to Milan fashion week

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    MILAN (AP) — Milan Fashion Week closed four days of mostly menswear previews for next fall and winter on a note of tranquility.

    Italian fashion world stalwart Giorgio Armani took his admirers inside Milan’s hidden courtyards, islands of calm concealed from general view within the walls of the city’s austere neoclassical architecture.

    Indian designer Dhruv Kapoor, a relative Milan newcomer, hopes to promote an interior journey with a new collection in which he seeks to reconcile alter-egos – be they romantic, aggressive or pensive – as a way of healing.

    While creating similar moods, the presented designs couldn’t have been more aesthetically opposite: one a study in tailoring and muted hues, the other an explosion of color on silhouettes that mix the oversized with the petite.

    Highlights from Monday’s shows:

    DHRUV KAPOOR PROMOTES HEALING

    Kapoor has a message of radical self-acceptance in his collection, which combined floral prints promoting stillness, cartoon images of Godzilla representing aggression and lace details for romanticism.

    The designer, through his unisex collection dubbed “The Embracer,” advocates embracing all of our parts, even those viewed negatively. Not that he thinks the solution lies in wardrobing.

    “It’s a very simple process. Look in the mirror and tell yourself, ‘I love you.’ And see how the magic starts to shift. You just need to admire yourself just the way you are,” Kapoor said backstage, adding that he has felt a dramatic shift since adopting the practice. “I don’t know how it comes. I never dwell on the how.”

    The collection includes a fitted, ripped denim dress over loose jeans. Broad-shoulder suit jackets were combined with tight trousers that flare into a bell bottom. Oversized sweatshirts were layered with cotton tunics and a sheer lace pant. Godzilla raged on the front of a button-down shirt or tight-fitting dress, while a silver pillow jacket had reptilian spikes down the back.

    “Godzilla also has a very negative, monstrous thing attached to it,” Kapoor said. But that should not impede acceptance, he insisted.

    Crystals on knitwear, suits and jackets hold energy that Kapoor said can be activated to have a positive impact on the wearer’s life. Instructions are included with the garments.

    Models traversed the Tiepolo room in the 18th century Clerici Palace beneath images that included demons, walking to the beat of modems connecting mixed with classical music and hip hop. The mashup gives “us a whiff of the past and the future,” Kapoor said. “And we are birthing a new present.”

    Kapoor also promotes healing for the environment. Nearly two-thirds of his collection is either upcycled, employing leftover textiles that otherwise would be discarded, or recycled. For this season, all of his suit fabrics are made from recycled plastics.

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    ARMANI’S HIDDEN MILAN

    Hidden from view in Italy’s frenetic fashion and finance capital are quiet gardens ensconced in Milan’s courtyards.

    Giorgio Armani suggests these are places to pause and take stock before emerging for business or play, this season on soft footwear with rubber soles.

    Models walked slowly to a soundtrack of Italian pianist-composer Ludovico Einaudi soundtrack while wearing suits and separates that were deeply textured, projecting self-assuredness in the 88-year-old designer’s trademark soft-silhouette.

    The color palette consisted of soft earthy tones set off by olive and forest green with a surge of crimson in sportswear and a final smattering of weekend dandy looks. Flannel cargo pants were paired with soft sweaters. Disciplined double-breasted suits befitted a negotiating table. Big gake furs, including one in tiger print, lightened the quiet mood.

    The show closed with couples dressed in shimmering black evening dresses and formal suits with silk or velvet details chattering down the runway, as if they were leaving a party.

    Armani conceded that flashes of skin on other runways this season had a sensuality. But he stuck by his conviction: “You can wear anything you want, but when you are at an important table, you need to wear an important suit,” he said.

    His one transgression: ties that arch under the knot, as if pulled loose, and worn tucked into vests, “to give space to relax.”

    ’’Stiff is not good,” the designer added.

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  • Italy’s La Scala opens season to Ukrainian protests

    Italy’s La Scala opens season to Ukrainian protests

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    MILAN (AP) — Italy’s most treasured opera house, Teatro alla Scala, opened its new season Wednesday with the Russian opera “Boris Godunov,” against the backdrop of Ukrainian protests that the cultural event is a propaganda win for the Kremlin during Russia’s invasion of Ukraine.

    Italian Premier Giorgia Meloni, in her first cultural outing since taking office, attended La Scala’s gala premiere in Milan, joining Italian President Sergio Mattarella and European Commission President Ursula von der Leyen in the royal box.

    A group of about 30 Ukrainians gathered outside the theater to protest highlighting Russian culture while President Vladimir Putin wages a war rooted in the denial of a unique Ukrainian culture.

    They were kept across the main piazza, far from any interaction with arriving dignitaries and officials, and politics did not enter the theater.

    The crowd of mostly prominent figures from Italian business, culture and politics showered the production with 13 minutes of applause. The loudest praise was reserved for Russian bass Ildar Abdrazakov in the title role along with a cascade of flowers for chief conductor Riccardo Chailly.

    Asked about Ukrainians’ objection to putting a spotlight on Russian culture as war rages in its tenth month, von der Leyen praised Ukrainians as “fantastic, brave and courageous people,” but said that Russian culture should not be conflated with Putin.

    “We should not allow Putin to destroy all this,” von der Leyen said, referring to great Russian writers and composers, including Modest Petrovic Musorgsky, author of “Boris Godunov.” She added: “Full solidarity with our friends in Ukraine, and let’s make sure that we stand together.”

    Meloni, who has maintained Italy’s support for Ukraine in defending itself against Russian aggression, also sought to draw a line between culture and politics.

    “We don’t have anything against the Russian people, Russian history, Russian culture,” Meloni said. “We have something against those who have made the political choice to invade a sovereign country.”

    A letter of protest from Ukraine’s consul in Milan and a petition by the Ukrainian diaspora failed to persuade the theater to drop “Boris Godunov.” La Scala officials say Chailly chose the opera as the 2022-23 season opener three years ago at Abdrazakov’s suggestion, and it was too late to substitute the production.

    Abdrazakov was heralded for his sixth La Scala season premiere performance, the first in his native language, leading a mostly Russian cast along with La Scala’s chorus.

    “I have sung here in Italian, in French, once in Italian, but in Russian, it is another thing entirely. And then, this opera, I adore it very much,″ Abdrazakov said backstage.

    Danish director Kasper Holten’s said he sought to emphasize the opera’s message about “the cynicism of power,″ which he said remains relevant more than 150 years after it was written. In Holten’s staging, Godunov is haunted by the bloody presence of the child prince he killed to become czar, and then has to confront bloody depictions of his own cherished children, foreshadowing their own fate.

    “This is sadly a reminder to us that wherever there’s a lust for power, it’s also the language of blood,″ Holten said backstage.

    La Scala management have insisted that “Boris Godonov” was not propaganda for Putin. Still, Russian media widely reported on the production, focusing on officials’ dismissals of the Ukrainian protests. Russian state TV was also on hand for opening night.

    In the piazza, Ukrainian protest organizers were unpersuaded by the attempt to keep politics out of culture.

    “I don’t know why Italians tend to think Russian culture does not have anything to do with Russian government or the Russian people. It is all intertwined with the medieval mentality that created Putin,” said Valeriya Kalchenko, a native of the Ukrainian city of Kharkiv and long-time Milan resident who organized a protest.

    She noted that the Polish National Opera in Warsaw canceled its scheduled April performances of the same opera just days after Russia invaded Ukraine in late February, citing the suffering of the Ukrainian people. It said it would consider staging the opera in peacetime.

    “They could have reacted in the same way, because La Scala at the beginning of the war had nine months to substitute the opera with an Italian opera. There is no shortage of them; it is an Italian art form,” Kalchenko said.

    Other Ukrainian organizations, including a youth association, decided against physically joining the protest despite objections to the Russian production. Instead, they gathered silently, holding sheet music written by a Ukrainian composer.

    Zoia Stankovska said that “muting” Russian culture during the war “would be a gesture, a sign of solidarity, with Ukrainians, and a clear message as long as the aggression is ongoing.”

    La Scala management has emphasized its support of Ukraine, including a benefit concert that raised 400,000 euros ($421,000). La Scala was also the first theater in the West to cut off relations with Russian conductor Valery Gergiev, who was engaged at the Milan theater when the war broke out, after he failed to express a desire for a peaceful solution.

    The gala season opener, which is held on the Dec. 7 holiday for Milan’s patron St. Ambrose, is one of the top events on the European cultural calendar, and often attracts protests aimed at grabbing the attention of Italian movers and shakers in attendance.

    In that tradition, climate protesters early Wednesday threw paint on the opera house’s columns to promote more urgent actions to curb climate change. The paint was quickly removed. And union protesters set up near the Ukrainian protest, adding “no war” to their manifold slogans.

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    Follow AP’s coverage of the war in Ukraine: https://apnews.com/hub/russia-ukraine

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  • Prada charts line of business succession, tapping new CEO

    Prada charts line of business succession, tapping new CEO

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    MILAN (AP) — The Prada fashion house began charting a line of succession on its business side, announcing Tuesday that it is tapping a former LVMH executive as its next CEO and confirming that Miuccia Prada will continue in her creative roles.

    Andrea Guerra is set to be confirmed by the board next month as the new CEO, succeeding Patrizio Bertelli, who will stay on as chairman. The move is intended as a step toward ultimately handing the reins of Prada Group to Bertelli and Miuccia Prada’s son, Lorenzo Bertelli. The younger Bertelli now oversees digital marketing and sustainability.

    The statement emphasized that Miuccia Prada will remain co-creative director of Prada with Raf Simons, creative director of Miu Miu and a board member.

    “This is a fundamental step we have decided to undertake, while completely engaged in the company, to contribute more to the evolution of the Prada Group, and to ease the succession of Lorenzo Bertelli, the future leader of the group,” Patrizio Bertelli and Prada said in a statement.

    Guerra, 57, is one of Italy’s highest-profile executives, serving as the long-time CEO of Luxottica, the world’s largest eyewear company, followed by a stint at the Eataly global chain of eateries and marketplace for Italian-produced specialties. Most recently, he was in executive positions at the French conglomerate LVMH.

    Succession is an issue at Italy’s family-run companies, and not only in fashion, and the move appears intend on sending a message to financial markets that a plan is in place. Guerra has longtime experience in a family-run company, serving for a decade as CEO at Luxottica before owner and founder, the late Leonardo del Vecchio, took back day-to-day operations following disagreements.

    Prada denied that bringing on Raf Simons in 2020 was a move designed to set up the creative succession at the fashion house specializing in luxury handbags, footwear and understated apparel. Still, speculation started anew after the Belgian designer announced last month that he is closing his eponymous fashion brand after 27 years.

    Besides the Prada and Miu Miu fashion houses, the Prada Group also includes the footwear companies Church’s and Car Shoe, as well as the pastry shop Marchese with 627 stores in 70 countries.

    Prada trades in Hong Kong, where shares closed down 2.33% just before the announcement was made.

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  • AC Milan And Napoli Show The Difference In Squad Depth

    AC Milan And Napoli Show The Difference In Squad Depth

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    That sound you hear is Milan’s title defence slowly slipping away, slowly losing its grip, and we’re only three months into the season.

    The 0-0 draw against Cremonese at the Stadio Giovanni Zini has done little to calm nerves at Milanello that a Scudetto that took them 11 years to regain is already heading towards the south and into the hands of Napoli.

    Stefano Pioli named an experimental side against Cremonese, which was more due to necessity than due to squad rotation. They were starts for Malick Thiaw – making his Milan debut – and Divock Origi, meanwhile Fode Ballo-Toure also started on the left due to Theo Hernandez being suspended.

    The result was a severely disjointed performance in which they created precious little, and the chances that were carved out wasted, primarily by Origi and Ante Rebic. Credit must also be given to Cremonese stopper Marco Carnesecchi, who was equal to everything thrown at him by the Rossoneri. Carnesecchi was handed a 7/10 rating from La Gazzetta dello Sport, and deservedly so.

    As the game ticked down to its final minutes, Pioli flexed his muscles and brought on Rafael Leao and Charles De Ketelaere in a bid to secure all three points, but the pair of them did little in a creative sense, the latter especially has really struggled since arriving in Serie A and has shown little of the form that propelled Milan to splash out €35m last summer in order to secure his signature from Club Brugge. De Ketelaere hasn’t scored a single goal and has only produced one assist since joining Milan and, in light of his recent form, was benched for the fifth consecutive game by Pioli.

    The 21-year-old is clearly adapting to the rigours of the Italian game and the step up in quality, but he’s looked remarkably lightweight in games and had been guilty of making the wrong choice when in possession of the ball a litany of times.

    “I still foresee ups and downs, it’s normal for such a young player who has changed environment and his way of working,” said Pioli about the Belgian. “Charles has quality, talent, intelligence and availability. His growth will come but when is difficult to say. I’m absolutely convinced of his qualities.”

    Milan’s evening of disappointment was only exacerbated by Napoli’s win against Empoli hours before. Luciano Spalletti’s side left it very late to pick up all three points and keep their runaway locomotive at full speed, but goals from Hirving Lozano and Piotr Zielinski secured a 10th straight win for Napoli, and put them eight points clear of Milan at the top of the table.

    And these two games have highlighted the difference in both sides. Spalletti made five changes from the win against Atalanta in Bergamo last weekend for the Empoli game, and yet the end result was the same: a Napoli win.

    And herein lies the difference in the quality of the squads. Spalletti can interchange the likes of Lozano, Matteo Politano, Elif Elmas, Giacomo Raspadori and Khvicha Kvaratskhelia on the wings and not lose quality; Giovanni Simeone has amply filled in for Victor Osimhen when the Nigerian was out for several weeks earlier in the season; Mario Rui and summer signing Mathías Olivera have traded places all season without a dip in quality, and Spalletti can also change things up in midfield, with Tanguy Ndombele can come in for one of the mainstays in Franck-Andre Anguissa, Stanislav Lobotka or Zielinski, like he did against Empoli.

    Spalletti simply has the kind of options that Pioli doesn’t, and this will make a huge difference in the second half of the season as European football kicks into gear again in mid-February.

    Milan’s title win last season was built on the strength of having no European football post-Christmas, leaving Pioli having to only focus on one game per-week. Milan effectively have a very good 13-14 players, but beyond that they struggle. Take one or two links out of the chain and they aren’t the same team.

    The same cannot be said for Napoli.

    With a third of the season gone, and only a single game left before the World Cup break, Napoli are slaying all. But we’ve been here before with Spalletti, yet with Milan already eight points behind, and Juventus and Inter even further back, Napoli will likely never have a better time to win a third Scudetto.

    And when it comes down to it, when the history on this season is written, it’ll likely come down to the depth of their squad, and Milan simply cannot compete on that score.

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    Emmet Gates, Contributor

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  • Soccer player injured in knife attack calls himself ‘lucky’

    Soccer player injured in knife attack calls himself ‘lucky’

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    MILAN — Pablo Marí, the Spanish soccer player who was wounded in a knife attack at an Italian shopping center, called himself “lucky” to survive and was being treated Friday following injuries to his back and mouth.

    Five people were stabbed Thursday and one was killed after a man grabbed a knife from a supermarket shelf, authorities said.

    Police arrested a 46-year-old Italian man suspected in the attack at a shopping center in Assago, a suburb of Milan, carabinieri said.

    The 29-year-old Marí, who plays for Serie A club Monza on loan from Arsenal, does not have life-threating injuries but was still receiving medical attention at the Niguarda hospital in Milan.

    “He told me he had ‘suerte’ (luck), because, ‘today I saw someone else die,’” Monza CEO Adriano Galliani said after visiting Marí at the hospital late Thursday.

    “He had his child in a cart and his wife next to him. … He was probably saved by his height,” Galliani said of the 1.93-meter (6-foot-4) Marí. “He was hit in the back and then he saw this delinquent stab someone in the throat.”

    Massimo Tarantino, a former soccer player for Napoli and Inter Milan, was involved in stopping the assailant.

    “He was just screaming,” Tarantino told reporters. “I didn’t do anything. I’m not a hero.”

    Galliani said Marí also had injuries to his mouth, possibly from gritting his teeth during the attack.

    “He had two stitches applied to his lip and injuries to his back, which fortunately did not affect any organs,” Galliani said, adding that Marí was “lucid.”

    Marí’s wife was questioned by police as a witness to the attack, Galliani said.

    Marí, a center back, has played in eight of Monza’s 11 Italian league games this season and scored the second goal in a 2-0 win over Spezia this month. He spent the second half of last season on loan with Udinese, another Italian club.

    Monza, which is owned by former Italian premier Silvio Berlusconi, hosts Bologna on Monday in its next match. The team is playing its debut season in the top division.

    “Pablo is a great kid,” Galliani said. “He had the strength to joke around, telling me that Monday he’ll be on the field. I brought him well wishes from president Berlusconi and all of his teammates.”

    A supermarket employee died en route to the hospital, according to the news agency ANSA, which said three other victims were in serious condition. Another person was treated for shock but not hospitalized, police said.

    Monza coach Raffaele Palladino also visited with Marí, and Monza issued a statement on Twitter on Friday mourning the victim in the attack.

    “All of AC Monza shares deeply in the family’s pain for the loss of Luis Fernando Ruggieri, victim of the madness that took place last night in Assago,” the club said. “Thoughts also go in these hours to the other people injured and their families.”

    The motive for the attacks was unknown, but police said the man showed signs of being psychologically unstable. There were no elements to suggest terrorism.

    The attack occurred near the Assago Forum, an arena that is slated to host figure skating and short-track speedskating for the 2026 Milan-Cortina Olympics.

    ———

    AP World Cup coverage: https://apnews.com/hub/world-cup and https://twitter.com/AP—Sports

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  • Milan’s Poor Champions League Record Indicative Of Lack Of Quality

    Milan’s Poor Champions League Record Indicative Of Lack Of Quality

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    It didn’t make for great reading from a Milan perspective, and it wasn’t the fact that they lost yet again to Chelsea, without putting up much of a challenge. No, it was the fact that since returning to the elite European stage at the beginning of last season, the seven-time winners of the Champions League have won only two games from 10 attempts.

    That’s simply not good enough.

    A case could be argued in Milan’s defence last season, considering the nature of their group. Drawn in a tough group against Liverpool, Atletico Madrid and Porto, the odds were stacked against Milan to get through.

    Many would’ve fancied them to beat Porto home and away, yet in the end it didn’t work out that way. Milan’s only victory came away in Madrid, they were easily swatted aside by Liverpool’s B-side and Porto took four points from them in their two back-to-back encounters.

    Milan finished bottom of the group, not even dropping into the Europa League. In hindsight, that did them a favour, as they focused solely on winning their first league title for 11 years, with the distraction of Europe void.

    This season Milan were supposed to do better. Bolstered by their experience from last season, in addition to new signings such as Charles De Ketelaere and Divock Origi, this season Milan would do better, win more games, improve in Europe.

    So far that hasn’t been the case.

    After four games they’ve still only won once — a 3-1 home win against Dinamo Zagreb — and were humbled twice by Chelsea, with the latest game a show of just how behind Milan are in comparison to some of the best sides in Europe.

    Yes, the second Chelsea game was conditioned by the somewhat harsh red card for Fikayo Tomori in the opening 20 minutes, but it was his initial mistake, allowing Mason Mount to get goal side, that forced Tomori into making the contact in the first place.

    From there, Olivier Giroud missed a glorious chance that nine times out of 10 he would’ve put away. Yet this was the 10th time, and his header flashed over the bar, and from there Milan were as good as done. They offered little in attack and already had the mind set of using the red card as justification for a mediocre performance, despite being in front of 75,000 bristling Milanisti.

    Chelsea essentially coasted 5-0 over the two games and, it leaves Milan needing to win both of their remaining games against Zagreb and Red Bull Salzburg in order to qualify for the knockout rounds. If Milan are to grow as a club and bring in more revenue, they simply need to win both games. Destiny is still in their own hands, but whether they can actually win both games, particularly the difficult away trip to Zagreb, is up for debate.

    And it speaks to a wider concern that many of Milan’s players have reached their ceiling. Like in all facets of life, there are levels and for many of this Milan team, playing in the Champions League is simply a step too far for some of them.

    Milan’s strategy of finding young talent and building them only works to a point, there must come a time when they sign ready-made stars. Moreover, for every Rafael Leao, who is now developing into a major star, there’s a Rade Krunic, Junior Messias, Alexis Saelemaekers and Fode Ballo-Toure, players who can get the job done in Serie A, can’t make the step up into the Champions League.

    Even if Milan do make it through to the round of 16, only a kind draw would see them venture even further. Quality signings are needed next summer, otherwise there’s a great chance of Milan stagnating, and then they could lose some of their best players like Leao, Theo Hernandez and Tomori.

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  • Kim Kardashian culls Dolce&Gabbana archives for Milan show

    Kim Kardashian culls Dolce&Gabbana archives for Milan show

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    MILAN (AP) — Kim Kardashian took Milan by storm on Saturday, curating a new collection for Dolce&Gabbana that took inspiration from 20 years of archival looks.

    It was a day of debuts in Milan, including Maximilian Davis, a 27-yeaer-old British designer with Afro-Caribbean roots, at the creative helm of Salvatore Ferragamo and Filipino American designer Rhuigi Villasenor at Bally, as the brand returns to the runway for the first time in 20 years.

    Some highlights from the fourth day of Milan Fashion Week previews of mostly womenswear for next spring and summer:

    KIM KARDASHIAN AND DOLCE & GABBANA: THE BACKSTORY

    Kim Kardashian’s love of Dolce & Gabbana goes way back, and the affection showed in her curation of their latest collection, drawing on archival looks from 1987-2007.

    She remembers growing up watching her mother dress in Dolce & Gabbana for date nights with her stepfather, recalling “she always looked so smart and so strong.” One year, Kardashian’s borrowed one of her mom’s black Dolce & Gabbana dresses with a built-in bra and choker to wear for a family Christmas card, a look, she said, “I will never forget.”

    When Kardashian and her sisters owned a store, she borrowed her father’s credit card to buy a bunch of D&G dresses, jeans and belts before her paycheck came in.

    Even the family dogs were named Dolce and Gabbana. Gabbana was a black labrador, Dolce a tiny chihuahua.

    “It is very close to reality,” Stefano Gabbana quipped in a presentation for the new collection.

    But no matter how hard she tried, even deploying her mother, Kris Jenner, to help make her case, the designers refused to open their archives. “The past is the past,” Domenico Dolce explained. “We try to go ahead with the new generation.”

    That is, until Kardashian proved she had the right stuff.

    When Kourtney Kardashian married Travis Barker in Italy, social media swarmed with the vintage Dolce & Gabbana dresses she and her sisters wore. They were all from Kim Kardashian’s private collection, which she accrued with the help of a book of more than 100 desired Dolce & Gabbana looks she and her stylist compiled years before.

    “Everything looked insane. It was so fun,” Kardashian said of the wedding looks. “I think (the designers) were surprised I came with all my own stuff and I had been collecting it for years.”

    Dolce said the wedding photos persuaded them to dig into the archives, and he approached Kardashian about the project.

    “We were afraid that the vintages dresses would look old. Instead, they were still contemporary,” Dolce said.

    And so the new Spring-Summer 2023 collection was born, with the designers selecting looks from the past that they loved, many with memories attached working with models like Linda Evangelista and Monica Bellucci. Kardashian curated from there.

    “After all these years, this is all of the stuff we would wear today,” Kardashian said. “As a designer, I would just think that is so cool, to see everyone trying to emulate the looks. And why not do a full collection, obviously with some new pieces in there, but just reimagined in a way that we would wear it today, which is so similar to how it was shot and worn back then.”

    _____

    HASHTAG CIAO,KIM AT DOLCE & GABBANA

    Designers Dolce and Gabbana presented their Spring-Summer 2023 collection curated by Kim Kardashian against the backdrop of a film showing Kardashian, styled as a starlet, sensually eating a plate of pasta.

    And indeed, Kardashian’s curation showed her full embrace of Dolce & Gabbana’s Italian roots.

    “You just don’t take shit from anyone when you are here and wearing Dolce & Gabbana,” Kardashian told reporters. “You feel powerful, and strong and sexy at the same time.”

    Lingerie strongly inspired the collection. There were corsets, incorporated bras and bodysuits, employing all of the designer’s best tricks, from rigid bones for structural elements, to pretty lace and eye-catching crystals. They were worn with gartered stockings and long gloves, or under beautiful wraps.

    Kardashian adhered to a mostly neutral palette: black, gray and beige, with some burgundy. And she the drew the line at prints, completely rejecting the brand’s fruits and florals, causing Gabbana to lament: “She killed me. I said ‘Noooo!’”

    But she went all in on the leopard.

    “I would say the boys brought out the leopard in me,” Kardashian said. “I think you will see that for me, color is the crystals.’’

    The collection was designed with women of all ages and shapes in mind, Kardashian said, with the goal of simplifying designs to help some of the more ornate pieces feel less intimidating.

    “If you simplify it, more people can feel confident wearing it. And I think we really achieved that in the show,” she said.

    Kardashian’s mom, three of her children and sister Khloe sat in the front row. Proud mamma Kris Jenner filming the entire show on her phone.

    JIL SANDER’S TRANQUILITY

    Jil Sander created a tranquil island in Milan’s chaotic fashion week, filling a temporary show space in a distant field with a thicket of wildflowers and grasses, along with soothing pastels and forgiving silhouettes.

    The collection lends itself to easy layering and defies all gender stereotypes. Creative directors Lucie and Luke Maier continued to dabble in embellishments, adding sequins, feathers and metallic accents to the brand’s minimalist silhouette.

    Sleeveless suiting worked across genders, and men wore long pastel kilts with button-down shirts. Knitwear was distressed, with rough edges and slits, in both tops and dresses. The designers chose a single print, featuring blurry points of light.

    Models carried umbrellas to protect the looks from the seasonal rainfall — inconvenient for an outdoor show but welcome in Italy after months of drought.

    FERRAGAMO’S NEW DAWN

    Maximilian Davis created a vermillion red background for his Salvatore Ferragamo debut in the courtyard of a 17th century baroque and neoclassical palace — all the better to highlight the fashion house’s new direction.

    The 27-year-old British designer worked strong silhouettes and simple elements, like tank tops and leggings, or full-on bodysuits, all the better to highlight the bag of the season, oversized cutout bags in highly polished leather with a canvas interior. Dresses were slinky in solid colors or flowing chiffon in degradé prints; a red trouser and skin-tight top combo popped with crystals. Strappy sandals featured a distinctive circular heel.

    The male silhouette was challenged with an off-shoulder, sheer ombre dyed top, the colors an homage to the California sunset. Davis tapped Ferragamo’s leather heritage with boyishly short leather shorts paired with a leather blazer. Any male divo can make a red-carpet entrance with a silver sheer off-shoulder top that flows dramatically into a trailing scarf.

    Models trod across red sand that covered the entire courtyard, a reference to Ferragamo’s Hollywood origins near the California beaches, and Davis’ own Caribbean heritage.

    The sea and the sand mean for him “a place where you can go to reflect, and feel at one,” he said. “I wanted to show that perspective, but now through the Ferragamo lens.”

    Super model Naomi Campbell turned out for the debut.

    BALLY REBOOTED

    Filippino American designer Rhuigi Villasenor, best known for his U.S. streetwear brand, is seeking to drive a transition at the storied Swiss brand Bally, founded in 1851.

    His debut collection paid tribute to the brand’s heritage of quiet elegance, while introducing an edge. A plunging V-neck swimsuit was worn with snakeskin boots, while a long beaded skirt featured a waist-high slit and was paired casually with a denim top. For him, a flashy reptile leather jacket was worn with a mesh top and jeans, but there was also a dark blue double-breasted suit for more formal business occasions.

    Villasenor said he was inspired by “the brand’s codes around art, graphic design, architecture and nature.”

    BOTTEGA VENETA’S TROMP L’OEUIEL

    To the uninitiated, Kate Moss looked downright dressed down on the Bottega Veneta runway, in a pair of loose jeans and a plaid shirt. But that is the genius of designer Matthieu Blazy, who replayed a trick from his first season, showing leather pants that replicate the look of jeans.

    Every piece in Blazy’s sophomore collection was strong: from the intarsia knitwear that have ice blue and red vying for the starring role, to the leather shift dresses and jackets with unexpected folds, to the shredded leather skirts and dresses, and sheer dresses embellished with velvety floral appliques.

    At Bottega Veneta, leather is king. Bags include beautifully crafted fishing bags that fit neatly on the body, either in flat leather or a basket weave, to bucket-bags worn flung over the shoulder.

    Blazy collaborated with Italian architect and designer Gaetano Pesce on the sculptural resin runway and 400 unique chairs, some with hand drawings, used for guests at the show and destined for Design Miami.

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  • Matty Bovan energizes Milan fashion, Armani offers elegance

    Matty Bovan energizes Milan fashion, Armani offers elegance

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    MILAN (AP) — Milan Fashion Week closed Sunday after five days of mostly womenswear previews that celebrated diversity and renewal, with more designers of color represented than ever and a host of new talent making their debuts at major fashion houses.

    The Italian fashion council was promoting sustainability with the return of the Green Carpet awards Sunday night recognizing progress in practices that reduce waste in the industry and its carbon footprint.

    Even while the fashion world was raising awareness about sustainability, this season’s calendar presented unsustainable trajectories between shows, forcing the fashion crowd to travel back and forth, multiple times in one day, in an already gridlocked city. Even biking proved a challenge with few bike lanes on the routes.

    Fashion week closed as Italians went to the polls for an unseasonal parliamentary election that could push Italian politics sharply toward the right, something on the minds of many in the fashion world who have advocated for migrant rights and a law that would criminalize hate crimes against homosexuals, women and the disabled.

    Giorgio Armani voted early, even as he prepared the finishing touches on his runway show and to appear at the Green Carpet Awards. Asked about the elections, he responded: “That it may be a productive day. Stop.”

    Some highlights from Sunday, the closing day of Milan Fashion Week:

    MATTY BOVAN’S ‘SHAPESHIFTER’

    “This is new energy for Milan,” Stefano Gabbana gushed backstage to British designer Matty Bovan. “Bravo,” chimed in Domenico Dolce.

    Bovan, who had just made his Milan Fashion Week debut Sunday sponsored by Dolce & Gabbana, was still flush, having sprinted up and down the runway, in a physical display of his energy that was captured on a creative level in his new collection.

    “I am exhausted,″ Bovan confessed to fashion journalists moments earlier. “I haven’t run like that for years.”

    Bovan said his colorful, definitely energetic and fantastical collection reflects “English surrealism at its best.”

    The collaboration with Dolce & Gabbana gave him access to the designing duo’s ateliers, and Bovan was still overwhelmed by the quality of their craftsmanship “I have never seen work like that. I have never had access to work like that. It is just of a scale,” he said.

    The Milan stalwarts also provide handbags, denim and corsetry, all of which Bovan has worked over with embroidery, crocheting or painting, about 90% of that by his own hand.

    The looks were completed with mostly deadstock materials from his previous collections, including loud sequined geometric prints and knitwear that he constructed into overlapping layered skirts and bustles, which by no means were reserved for women alone. And he threw in some Matty Bovan emblazoned golden brocade, as mermaid skirts and ruffled wraps.

    Dolce & Gabbana jeans were ripped, torn, patched with embroidery and painted. Their bags were painted, and toted upside-down. And the reissue corsets in special colors and sizes gave shape to the looks.

    Bovan said Dolce & Gabbana’s take on femininity combined well with what he called his own “very twisted feminine. So, it was a real fun collaboration.”

    GIORGIO ARMANI’S GOLDEN THREADS

    Giorgio Armani’s collection for next spring and summer was a study in shimmery elegance.

    The collection opened with pearly whites, and transitioned to subdued blues, greens and grays — all coalescing around a notion of spiritual tranquility.

    That harmony was evident in the soft construction, layers of translucent materials that draped and moved with the form. In a kind of alchemy, trousers looked like skirts, and skirts like trousers. As a more powerful palette came into focus, some skin started to show: A long linen shirt opened demurely to show off some torso above chocolate trousers. Beaded jackets paired with fluid trousers, and mandala prints gave life to a series of daytime formal looks with silken pants.

    The collection culminated with crystal accented looks in the most shimmering of whites, each a meditation of what fashion means for the spirit.

    “I cannot manage to make a dress without at least a little glitter,” the designer, 88, said after the show.

    REMAKING BENETTON FROM THE KNITWEAR UP

    Benetton is embarking on yet another remake, this time under the creative direction of Andrea Incontri, a Milan designer with experience at a host of fashion houses, including Tod’s.

    An architect by training, Incontri wants to reshape the Benetton retail experience, and emptied the Corso Buenos Aires flagship store for his runway debut as creative director.

    Upstairs, his new collection — replete with colorful fruit-repeating motifs, pretty melange knits and tweeds — hung against a bare tiled wall, in well-curated, easy to survey constellations.

    Underlining his desire to start with the consumer, Incontri staged the runway show on the ground floor, allowing passersby to catch a glimpse.

    The modern silhouette includes culottes — a hot trend in Milan for next spring and summer — and leather Obi belts that shape crisp cotton dresses or corresponding cotton shirt-short sets for men, should they feel so bold.

    The brand’s famed knitwear is pretty in melange, which layers nicely. A bra top gives a modern edge to a ribbed tunic and trousers, as cozy as it is chic. Knit biker shorts transform a tweed skirt and jacket into active daywear. Fruit motifs create a cornucopia of mix-and-match looks: the reds, pinks and yellows of cherries, pears and apples all aligning cheerily with green, sky blue and yellow backgrounds.

    Incontri has given the Benetton octopus logo a much-needed graphic update, deploying it sparingly, and he has created necklaces with the B and E for Benetton, in the spirit of personalization popular with Gen-Z. Just six months in the job, Incontri promises an even fuller makeover at the 57-year-old brand, which has experienced periods of malaise.

    Whereas Benetton’s heydey is strongly associated with the socially forward United Colors of Benetton advertising campaigns of Oliviero Toscani, Incontri wants to put the product and the consumer first.

    “This is a brand that I feel a lot of affection for, as do many Italians, because I grew up with it,″ Incontri told reporters.

    FERRARI APPAREL GAINING TRACTION

    Super sportscar maker Ferrari’s foray into luxury goods is finding traction with its high-end auto buyers, as hoped, but also Formula 1 fans whose garages don’t house quite the same horsepower.

    Rocco Iannone, the creative director of Ferrari’s fashion line, said he saw the effect during the Italian Grand Prix in Monza earlier this month. Many Formula 1 fans were buying pricey made-to-measure Ferrari garments, and showing up the next day wearing them at the race track “with badges and all of the iconic elements.”

    “This mix is what I am interested in telling: They exist and we want to give them a wardrobe,” Ianonne said.

    Iannone’s third collection focuses on what the creative director called Ferrari’s “primordial materials:” leather, denim, cotton and silk.

    The new collection combines pieces Formula 1 fans would covet, including racing jumpsuits and pit jackets adorned with iconic patches, as well as elegant statement pieces incorporating the Ferrari technological drive with more subtlety.

    Jacquard cargo pants are made with recycled nylon, rendering a camouflage look. The denim is technological, each piece treated with sprays of ozone to give a colorful stone-washed effect without the usual environmental damage. And Napa glove leather is used to make supple leather jumpsuits in a deep red with orange undertones or black.

    “The goal is to embrace the soul of Ferrari through a sharp, precise and mixed wardrobe,″ Iannone.

    TRUSSARDI’S TRANSFORMATION

    The Berlin-based designers who have taken creative direction of the Milan fashion house Trussardi say they are driving a transformation that is “non-linear and chaotic.”

    “It is a meeting between magic and realist, past and future, dream and pragmatism, modernity and heredity,” Serhat Isik and Benjamin A. Huseby said of their deep dive to restructure Trussardi.

    That is about as confessional as designers can get as they unveiled their second Trussardi collection Saturday in Milan’s neoclassical Clerici Palace, in one of the city’s most beautiful and ornate rooms.

    The collection combines Trussardi classics with urban looks the embrace both pragmatism and streetwear.

    The designers behind the GmbH brand made the polo shirt the battle horse of the Trussardi collection, but pairing it in daring combinations, like a culotte jumper shorts in shiny leather with a racing front. More demurely, the polo shirt featured a square neck that can be demurely unbuttoned, and paired with Bermuda shorts and a fanny back, perfect for a day out in the city.

    Jersey cut dresses draped the body, while voluminous crocodile leather and slim-cut denim provide urban armor.

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  • Visited Publishes Top 10 Most Popular Shopping Destinations

    Visited Publishes Top 10 Most Popular Shopping Destinations

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    Visited, the travel app, has announced the top 10 most popular shopping dentations, as per their international traveling users who travel with shopping in mind.

    Press Release
    –

    Aug 25, 2022


    TORONTO, August 25, 2022 (Newswire.com)
    –
    Arriving In High Heels announces the Top 10 most visited shopping destinations, as per the travel app Visited’s international users. Visited is a travel app that helps users map their travels, find new destinations and check off famous places. The app comes with a personalized map, travel stats and travel lists. Travel lists are being added on a monthly basis, and lists are constantly updated to ensure that any changes in travel destinations are reflected in the top 10 list. The top 10 most visited popular shopping destinations include all of the fashion capitals of the world: 

    1. London, England – The most popular shopping destination in the world. 

    2. Paris, France – The second most popular shopping destination while being the most popular city in the world to visit. 

    3. Rome, Italy – No visit to Rome goes without visiting the Spanish steps and Via Del Corso Rome’s famous shopping street. 

    4. Amsterdam, Netherlands – Famous for its open-air markets, art collections and flower markets. 

    5. New York, United States of America – New York is the most popular shopping destination for the Americas. 

    6. Milan, Italy is famous for its luxury retailers and is the second most popular shopping destination in Italy despite being a fashion capital. 

    7. Florence, Italy is the third most popular shopping destination in Italy. Florence is known for its Italian leather and jewelry. 

    8. Madrid, Spain – Home to famous Spanish brands such as Zara and Mango. There is no shortage of shopping to be found in Madrid. 

    9. Las Vegas, United States – Not only is it known for its casinos but also for its shopping, which can be found in every casino. Las Vegas is also home to the Fashion Show Las Vegas mall for those looking for outlet mall deals.

    10. Los Angeles, United States is the third most popular shopping destination in the United States, with its famous Rodeo Drive in Beverly Hills, which was made famous by the movie Pretty Woman. 

    For the full list of shopping destinations found around the world, download the Visited App. The Visited app is available for free on the App Store and Google Play Store. 

    To learn more about the Visited app and its latest feature update, please visit https://visitedapp.com. 

    About Arriving In High Heels Corporation

    Arriving In High Heels Corporation is a mobile app company; Visited is their most popular app. For inspiration on travel destinations, travel stats and the latest travel news, follow Visited on Facebook, Twitter, Instagram, and Pinterest. Other apps include Pay Off Debt and X-Walk. 

    Contact Information|
    Anna Kayfitz
    anna@arrivinginhighheels.com

    Source: Arriving In High Heels Corporation

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