Alessia Caruso Fendi

The doyenne of the Rome fashion family Alessia Fendi speaks to LUX about Cleopatra, Mick Jagger, her insider tips, and her latest venture in the city

Why Rome is the eternal city

It is in an eternal renaissance, always evolving. Rome has everything visitors could want, from beauty and romance to food, history and culture.

Who I’d take on a tour

Cleopatra and Mickey Mouse. The Queen of Egypt was the lover of two of Rome’s most powerful men, and when she first came here in 46 BC there was the largest procession the city had seen. I’d take her through the winding streets of bohemian Trastavere, full of people, restaurants and bars, and home of the Horti di Cesare. I’d show Mickey Mouse how a Disney character would fit perfectly into the frenzy of the city. I’m sure he would speed on a scooter to reach Minnie!

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My favourite place here

Rhinoceros Roma is a place like no other in the city. It was founded by my mother, Alda Fendi, in 2018. The gallery shows works by artists from Michelangelo to Picasso, and there are 25 luxurious apartments for guests. It was designed by French architect Jean Nouvel and has a vibe where new meets old, luxury meets state-of-the-art tech. It’s a special haven near many of the city’s most beloved historic sites.

Rhinoceros apud Saepta by Raffaele Curi in the Rhinoceros Roma gallery

My ideal dinner guests

I’d host Barbara Jatta, Director of the Vatican Museums, and Mick Jagger for dinner at Rhinoceros Roma’s new rooftop restaurant, Entr’acte. It combines breathtaking views over Rome’s red rooftops with delicious cuisine.

My favourite Roman dish

Coratella is a typical dish that dates back to ancient times. It is a combination of lamb offal, artichokes, white wine, garlic, olive oil, rosemary, salt and black pepper.

The Entr’acte terrace at dusk

Michaelangelo or Leonardo?

I’d have to say Michelangelo. He is one of the city’s most prominent artists and there are many examples of his genius here, from the Sistine Chapel and the Pietà in St Peter’s, to the Piazza del Campidoglio.

If you have one afternoon in Rome…

Go to the Baths of Caracalla – you will be amazed by the Roman architecture. Then dash to the Colosseum, Circus Maximus and relax at the Palatine Hill. Rome is very romantic The perfect place to propose is Giardino degli Aranci. The park has wonderful views across the city. Then celebrate with a meal at Entr’acte.

Old meets new in a sitting area in a Rhinoceros Roma apartment

My dream collaboration

I wish I’d worked with Issey Miyake to glorify his mix of craft, materials and technology through colours and geometries. I’d love to show his collections at Rhinoceros Roma. Italian artists I am looking at now I admire Pietro Ruffo, for his intricate pieces into which he incorporates ethical issues, with symbols such as dragonflies. I love Alessandro Piangiamore, whose beautiful works imprint flowers and leaves on concrete slabs. Alberto Di Fabio’s huge representations of the cosmos and the natural world are awe-inspiring.

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One place I’d love to visit

Porquerolles, an island in the Parc National de Port-Cros in the Mediterranean. It’s been on my list for ages for its beauty and serenity. Coming from Rome, I am always on the lookout for quiet places to recharge in.

Find out more: rhinocerusroma.com

This article was first published in the Spring/Summer 2023 issue of LUX

Building Bridges (at the Venice Biennale 2019) by Lorenzo Quinn

Italian artist Lorenzo Quinn has been commissioned to create artworks for the likes of the Vatican, the State of Qatar, and the Venice Biennale. Here, the sculptor speaks to Charlie Newman about poetry, the symbolism of hands, and durability.

Lorenzo Quinn

1. Can you talk us through your creative process from the conception of an idea to the finished piece?

Once I feel the inspiration, I begin by drawing a sketch of the idea. This sketch might change many times until I feel it is right. Then I make a model in my studio, this model could also vary from the sketch as I go. Finally, when I am satisfied with the model, we proceed to cast the piece in metal.

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2. How does your approach differ when you’re working on public art compared to smaller sculptures?

The approach is the same, apart from when we are considering a sculpture with large dimensions, we also have to consider the public safety implications, engineering and durability. We might choose different materials or different ways of constructing and engineering the sculpture.

3. What compels you to sculpt the human body, and specifically, hands?

I choose hands because I want to have a dialogue with the public, to have a conversation, and we have to do [this] through a common language. If I did abstract art, it would be a monologue, not a dialogue. The hands allow me to get closer to the public through a language that everybody understands and relates to.

Support by Lorenzo Quinn

4. Do you have a preferred medium to work with?

Metals, especially bronze because of its durability.

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5. You often pair poetry with your sculptures. How do you feel this contributes to the work?

I don’t conceive of one without the other. I need poetry to make the artwork or else it would be just a three-dimensional piece. I have always believed, nonetheless, that my sculptures need to go beyond that and into the fourth dimension, which is connecting with people and with the actual artwork. It’s about finding something beyond the physical, and poetry does that very well for me.

The Force of Nature I by Lorenzo Quinn

6. Which artists have been most influential on your practice?

The classic masters such as Michelangelo, Bernini, Rodin as well as Salvador Dali and my own father…

For more information visit: lorenzoquinn.com