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11 Pictures That Will Make You Jealous You're Not Summering on Valentino's Yacht

It's become more and more apparent that the spot to be this summer is Valentino 's yacht, T.M. Blue One. The vessel's most frequent occupants are the designer and the man who cofounded the label with him, Giancarlo Giammetti, but this summer there's been a lot of well-dressed activity on board.

Olivia Palermo

From celebrity guests (like Olivia Palermo , Anne Hathaway , and their respective husbands) to gorgeous vistas and splendid arrays of food, it looks like a very good time. The sweetest thing of all? The way that the hosts and guests neatly tag their Instagram shots, as if they were your college friends partying at a wedding together.

She makes out of a floating chair a throne @oliviapalermo #tmblue2015

A photo posted by Giancarlo Giammetti (@privategg) on Aug 1, 2015 at 12:25pm PDT

Nice view in Formentera #tmblue2015

A photo posted by Giancarlo Giammetti (@privategg) on Aug 5, 2015 at 7:37am PDT

Flower Power with @annehathaway #tmblue2015

A photo posted by Giancarlo Giammetti (@privategg) on Aug 11, 2015 at 5:06pm PDT

15:51 #tmblue2015

A photo posted by Valentino Garavani (@realmrvalentino) on Aug 1, 2015 at 6:43am PDT

Different kind of #Ibiza photo ???? #tmblue2015

A photo posted by Johannes Huebl (@johanneshuebl) on Jul 31, 2015 at 7:50am PDT

Feeling fruity! ????????????????????????????????????????#TMBlue2015

A photo posted by Olivia Palermo (@oliviapalermo) on Jul 28, 2015 at 12:14pm PDT

Feeling grateful.. What a great way to end your day... Watching the sun set on Es Vedera... ???? #stoptoappreciaterealbeauty ???????? #showstoppingsunset ???????? #TMBlue2015 ????????????

A photo posted by Tamara Beckwith Veroni (@ttpetals) on Aug 5, 2015 at 2:43pm PDT

#mary #tmblue2015

A photo posted by Giancarlo Giammetti (@privategg) on Aug 2, 2015 at 5:35am PDT

Morning swim! #lovefloaties ???????????? #bestexercise ???????? #loveaonepiece #tmblue2015 ???????????????????????????????????????? @privategg @johanneshuebl @carlossouza1311 @charleneshorto

A photo posted by Olivia Palermo (@oliviapalermo) on Jul 27, 2015 at 6:28am PDT

The 152-foot ship gets its name from Valentino's parents, Teresa and Mauro, can sleep 10 guests , and has a staff of 11 to cater to the guests' needs. Today's street-style stars aren't the first fashion fans to get an invite aboard, either; the yacht, christened in 1988 , welcomed famous names like Princess Diana and socialite Nan Kempner .

Summer is here TBT princess Diana on the TMblue 1990 #princessdiana #rosariosaxecoburg

A photo posted by Giancarlo Giammetti (@privategg) on Jul 3, 2014 at 3:38am PDT

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L'elegante yacht di Valentino in rada a Scario: curiosità tra i turisti

L'imbarcazione è lunga 49 metri e T.M. sono le iniziali di Teresa e Mauro, madre e padre dello stilista italiano

Il famoso panfilo “ T.M Blu One ”, di proprietà del famoso stilista Valentino Garavani , è stato per alcuni giorni in rada nel mare che bagna la spiaggia del lungomare Marconi di Scario (San Giovanni a Piero). Ora è ripartito in direzione Calabria.

Le caratteristiche

E’ uno yacht lungo 49 metri e T.M. sono le iniziali di Teresa e Mauro , madre e padre dello stilista. E’ una nave storica costruita più di trent’anni fa dai Cantieri Picchiotti per il famoso couturier italiano che era all’apice del successo, per il varo volle come madrina una splendida Sophia Loren. La barca nata 41 metri è stata allungata e riprofilata a 49 metri nel 2014, un lavoro importante realizzato dalla Lusben di Viareggio.

© Riproduzione riservata

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Lo stilista valentino sbarca a ostia. il tenero segreto delle iniziali del suo yacht, approda al porto turistico lo yacht “tm blue one” dello stilista valentino garavani. questa è l’estate dei maxiyacht.

Con l’approdo del “ TM Blue One ” dello stilista Valentino Garavani continua la saga dei maxiyacht che attraccano a Ostia. L’imbarcazione ha ormeggiato questa mattina e una serie di limousine con i vetri oscurati hanno prelevato gli ospiti che erano a bordo .

Lo yacht dello stilista, imperatore dell’eleganza made in Italy, porta un nome legato in modo indissolubile ai genitori di Valentino: T e M, infatti, sono le iniziali rispettivamente della mamma Teresa e del papà Mauro .

Il TM Blue One è una nave storica varata nel 1988 dai Cantieri Picchiotti di Viareggio per il famoso couturier italiano che era all’apice del successo. Per l’occasione Valentino volle a “bagnare” lo scafo una madrina d’eccezione, l’incantevole Sophia Loren.

La motonave al momento del varo misurava 41 metri ma sette anni fa, nel 2014, è stata allungata e riprofilata fino a raggiungere una lunghezza di 49 metri e 9 di larghezza, allestimento eseguito con particolare accuratezza dalla Lusben di Viareggio.

La livrea blu, con banda azzurra e strutture sopracoperta bianche, richiama alla mente quei blazer blu sopra una maglietta bianca, divise tipiche del classico yachtman.

L’imbarcazione in alluminio stazza 460 tonnellate e può ospitare fino a 10 ospiti più 9 membri d’equipaggio. Il “TM Blue One” batte bandiera italiana e questo fa onore a Valentino che non ha scelto, diversamente da molti altri imprenditori, di registrare la propria imbarcazione in uno dei paradisi fiscali.

Lo yacht di Valentino non sfigura rispetto al panorama delle barche vip che hanno ormeggiato a Ostia durante l’estate in corso. Per qualche giorno a cavallo tra prima e seconda decade di luglio ( leggi qui ) dalla spiaggia i bagnanti hanno potuto apprezzare il profilo minaccioso della Bleu de Nimes  (72 metri), nave da guerra trasformata in natante extralusso.  Il 30 giugno ( leggi qui ) l’orizzonte era stato caratterizzato dalle sagome del Madsummer (95 metri per 250 milioni di valore) e dal Savannah (83 metri per 100 milioni.

Il 6 giugno ( leggi qui ) era stata la volta del Ocean Pearl , un panfilo da 41 metri dalle linee futuristiche disegnate da Norman Foster.

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Mr. Valentino has a long and significant history with the island of Capri. On July 31st, 1960, he met Giancarlo Giammetti for the first time at the Café de Paris on the Via Veneto in Rome. The next day, Mr. Giammetti was leaving for Capri on a vacation; it just so happened that Mr. Valentino was due on the island the following week. They met again in Capri, and shortly after that, Mr. Giammetti left university to become Mr. Valentino’s business partner.

For many years, Mr. Valentino kept a house in Capri, an island that rises from the Bay of Naples, off the coast of southern Italy. It wasn’t hard to coax glamorous guests to come visit, given the island’s legendary charm. It was here, purportedly, that Odysseus resisted the song of the Sirens, and it was on Capri that the Roman emperor Tiberius went on his famously debauched holidays, decamping his court to villas like the well-preserved Villa Jovis, which can be visited today. In later years, artists as far-flung as John Singer Sargent, Claude Debussy and Graham Greene all stayed on Capri, and found inspiration here, and as the film Il Postino recounts, the poet Pablo Neruda was exiled on Capri, staying in the splendid Casa di Arturo overlooking the Marina Piccola. He wrote some of his most famous love poems on the island.

Most people come to Capri via water, taking the hydrofoil or ferry from Naples or Sorrento. The main drag is the Via Vittori Emanuele, which runs from the central square, the Piazzetta, to the landmark Quisisana hotel. The streets are traffic-less, which makes window-shopping all the more pleasant; fashion is a major pastime here. Jackie O. picked up the original Capri pants at La Parisienne, a tiny shop that’s still in business; the summer sandals from Canfora were another Jackie favorite. Visitors looking for a history of the island, meanwhile, can nip down Via Camerelle to La Conchiglia Libri & Arte, a bookstore-gallery run by Ausilia Veneruso. Her son travels to Britain to find vintage guides to Capri written in English-a perfect Caprese souvenir.

Since selling his house in Capri, Mr. Valentino’s visits to the island are more fleeting: He comes on his yacht, the T.M. Blue One (named for his parents, Teresa and Mauro.) It goes without saying that an invitation aboard is the best (and most exclusive) you can receive in Capri. But even without Mr. Valentino entertaining you, it’s possible to partake of la dolce vita, tucking into a perfect shrimp linquine at Da Giorgio and taking to the microphone at the tavern Anema e Core, a late-night haunt for celebs. Perhaps the most glamorous activity on Capri, though, is the passeggiata, the nocturnal stroll. As a soft Mediterranean breeze brushes the back of your neck, and waves lap in the distance, you can hear-but barely-the Siren song that tempted Odysseus. They’re still singing.

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Anne Hathaway Spotted Boarding Valentino's Yacht During Glamorous Trip to the Greek Islands: Photos

Anne Hathaway is living her best life on the Greek islands!

On Thursday, July 25, The Devil Wears Prada alum was spotted on a yacht of her own and aboard designer Valentino Garavani ’s massive boat.

The star, 41, soaked up the sun on the vessel alongside one of her sons and her husband, Adam Shulman . In the stills, Hathaway wore a brown swimsuit, large sunglasses and a sun hat as she enjoyed the gorgeous view.

After a long day of sunbathing, Hathaway — who recently starred in The Idea of You — was seen hopping onto the fashion icon’s yacht while wearing a stunning printed gown and a slicked back hairstyle.

Hathaway is no stranger to spending time with the world’s most successful designers, as she was spotted getting down to Nicki Minaj ’s 2014 hit “Anaconda” at the after-party for Versace’s Milan Fashion Week presentation.

In February, the clip of the celeb twerking in a black and white checkered two-piece set took over the internet, with fans gushing over the amazing moment, calling Hathaway “Mother” and “QUEEN.”

As OK! previously reported, the mother-of-two was also praised for how she handled things during her April 29 appearance on The Tonight Show .

During the episode, Hathaway experienced a particularly awkward moment when her question to the audience was met with complete silence.

While talking to host Jimmy Fallon about The Idea of You — where the actress portrayed a 39-year-old who sparks a romance with at 24-year-old boy band member, played by Nicholas Galitzine — Hathaway asked, “ Has anybody here read the book ?”

The brunette beauty got no response, to which she laughed and covered her mouth in surprise.

Fallon then added, “ No, we don’t read ,” to which Hathaway said, “Well, you should, it's fabulous.”

“You want to go to Stephen Colbert if you want to get people that read books. We do Audible here,” Fallon quipped.

“So it’s based off this book,” Fallon queried. Hathaway then hilariously joked, “What’s a book.”

In response to the clip, fans couldn’t get enough of the silly moment between the stars.

Never miss a story — sign up for the OK! newsletter to stay up-to-date on the best of what OK! has to offer. It’s gossip too good to wait for!

“This is seriously so funny. I can’t stop thinking about it. Anne is fighting for her life up there and handling it like a pro ,” one user penned, while another shared, “Her actual shock in that moment ... so good.”

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• What Is Cinema?

Out to Lunch with Giancarlo Giammetti

Giancarlo Giammetti—for 45 years the power behind the Valentino fashion empire, alongside Valentino Garavani—was unavoidably delayed cruising round the Aegean when I arrived for lunch at his penthouse in Manhattan, which is one of his five homes. But thanks to the wonders of Skype, we enjoyed our lunch together just the same.

“Can you hear me, John?” he asked, inaugurating my first “Out to Skype” from Valentino’s yacht midst windy seas.

“I can hear you,” I said. “How’re you doing, Giancarlo?”

“I don’t see you very well, John.”

He is a man known to leave nothing to chance, however. A computer expert fixed the picture on my end, while no less than three lovely ladies and his housekeeper fussed over me as a selection of William Poll gourmet sandwiches was placed before me, along with cherries, blackberries, chocolates, and a choice of wine.

Mr. Giammetti, strikingly handsome, tanned, and poised, was having a late lunch on the yacht, T.M. Blue One (which has a staff of 11), and he sweetly held up his plate so that I could see it clearly—shrimp salad and a glass of Brunello di Montalcino. He was sailing, he told me, with Valentino and members of their extended family, whom he calls “the tribe.”

Valentino: The Last Emperor, directed by Matt Tyrnauer (a contributing editor at this magazine), presents a remarkable backstage view of their rarefied world, but until I read Mr. Giammetti’s memoir, Private (published by Assouline this month), I hadn’t realized that he and Valentino had stopped being lovers more than 40 years ago. “You became inseparable blood brothers?” I asked.

“I was just 30 when the physical part of our relationship ended, and it was difficult in the beginning,” he explained. “We had to solve problems with jealousy. But we’re all grown up—very grown up—and we know that time solves every problem. We’ve always wanted to be the best for the other. But, you know, from the beginning Valentino and I never lived together.”

“That’s probably why your love for each other lasted.”

“Exactly! We want our freedom. We want to be able to close our doors.”

Giancarlo Giammetti is a man of natural charm whose English has improved over the years. When he first met the supermodel Jerry Hall in Rome (before she married Mick Jagger), she told him that she came from Texas, where she was a cowgirl—which he heard as “call girl.” “I was really shocked,” he explained, starting to laugh. “So I very shyly ask whether she arranged to meet her clients by phone or in person. She say, ‘ What clients?’ I say, ‘You say you are a call girl.’ And she say, ‘No, no, no! I am a cowgirl! ’ We became great friends.”

In the 1980s, Valentino was among the first fashion houses to license merchandise in Japan. “I can’t resist mentioning this,” I said. “How could such an elegant label as yours sell Valentino toilet seats?”

“Just one word,” he replied. “Money.”

“Were they hard to design?” I asked.

He laughed again. “No, I will say that.”

The licensing deals Mr. Giammetti made in Japan were worth many millions. “But the toilet seat didn’t destroy the name of Valentino,” he added.

Merchandise sales subsidize the haute couture collections, just as museum stores help support the art. But are fashionable clothes—rather than accessories and fragrances—the point any longer in what Giancarlo calls “a corporate game run by luxury titans”?

“It’s true the hot company is the accessories company—but a label like Louis Vuitton is still very important in fashion. And 60 to 65 percent of the profits of Valentino, owned today by the Qatar royal family, still come from the clothes. So I think the combination can exist.”

“But, amidst the ruling conglomerates like LVMH,” I suggested, “only a handful of independent fashion houses like Armani or Ralph Lauren still survive. We can no longer be certain who the designers actually are.”

“Yes, but I think women no longer need designers to decide what they want to wear! Before, they were waiting for Givenchy, Dior, or Valentino to decide the dress, the shoes, the bag, for them. But if they like the dress, they like the dress! I think it’s a good thing. It gives women a lot of freedom.”

“What ever happened to style?” I asked, reminding him of red-carpet disasters and hobo-chic celebs dressing democratically, unglamorously down.

“It’s a different style,” he responded, “and it’s a different—how you say?— moment. You cannot fight it. One of the biggest changes in today’s fashion is the influence of stylists. There used to be much more involvement when a star chose a dress. But today’s superstars and celebrities are offered so many clothes to wear, they’re spoiled. There’s no commitment involved, no work, no fittings. They wear the dress and it has a short life. They don’t have time to love a dress.”

And so my “Out to Skype” with Giancarlo Giammetti came to a close. “Thanks so much for lunch,” I said. “I hope you enjoy the rest of your cruise.”

“Nice talking to you, John. Bye-bye.”

John Heilpern

Royal watch.

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Happy Birthday, Mr. Valentino! Hamish Bowles Pays Tribute to the Magisterial Designer

Today, Valentino celebrates 88 years, most of them spent making people and places look and feel exceptionally beautiful.

He was only a teenager when he landed his first job in fashion in 1952, as an assistant to Jean Dessès. That Athenian-born couturier was famed for dressing both the crowned heads of Europe and a bevy of elegant actors in his signature evening gowns, which often incorporated very fine needle-pleated draperies. Today, only the Valentino haute couture ateliers in Rome hold the secret of this art. As an apprentice at Dessès, Valentino sketched a series of flamboyant “Dream Dresses” for his own amusement, which were never realized at the time. In 1991, however, for an exhibition celebrating the 30 years of his eponymous fashion house, the ateliers finally made them—as a secret surprise to their creator—and they became the glorious finale pieces in the retrospective.

I remember them well: a sheath dress embroidered with Meissen china motifs with panels of yellow, mauve, and gray chiffon draped around the bodice, for instance, and another of chocolate velvet licked with turquoise coral branches and shrouded in a turquoise satin opera coat cuffed in sable. There was a dress with yards and yards of knife-pleated cornflower blue chiffon that looked as though he had dreamt it up for Elizabeth Taylor. It was clear that even at that age, Valentino was determined that no one was ever going to pass unnoticed in one of his creations.

At the time of the exhibition, I was the fashion editor at Harper’s & Queen magazine in London, and I used to travel to Rome for the haute couture shows when Valentino still showed them there (in a ballroom of honeyed elegance), and to Paris for his ready-to-wear, where the collections always opened to the strains of Michel Polnareff’s loungey 1968 “Soul Coaxing,” and the designer made his curtain call—tapping his fingers against the palms of his hands as though they were castanets—to the strains of “New York, New York.” In between, there was always a lot of glamorous excitement as his cabine of superbly glamorous and supercilious models, including Dalma and Anna Bayle, slinked down the runway looking like idealized versions of the women who would actually buy the clothes. “What is very important is to know what the market asks for,” Valentino confided. “Clothes have to be worn. I am very lucky—I have a special understanding of these women.”

Valentino knew the lifestyle that his clothes were intended for because he lived it himself: As soon as he was able to, he lived as well as any of his clients, and today lives as beautifully as anyone, anywhere, possibly could.

I had already been to Rome a couple of years earlier to photograph the designer surrounded by a bevy of Roman princesses in his most romantic crinoline dresses—a picture out of Visconti’s The Leopard that we could only pull off because the ladies were artfully corralled by Carlos Souza, the alarmingly handsome, Brazilian-born master of ceremonies who has alternately smooth-talked and cajoled the press, models, celebrities, and private clients for Valentino through the years and across the globe with unmatched skill.

In 1991, however, I was not only orchestrating the photographs (under the all-seeing eye of Carlos, of course), but writing the story and attending the festivities. I arrived in some trepidation to discover the designer whom I had so long admired in his studio in the Palazzo Mignanelli—a building so imposing that it then had a discreet entrance for haute couture clients just next to the top of the Spanish Steps, although its main entrance was in the square at the bottom, six stories below. The fitting room was crowded with immaculate Valentino tailleurs on gleaming dress racks amidst a thrilling backdrop of bolts of fantastical fabrics and trays spilling with embroidery samples, buttons, and trim. Valentino was fitting his “Night” collection, one of a giddy-making round of 22 collections that he then designed every year. He had woken up at 5:30 that morning, as he confided, to make notes to self to convey to the team. He looked exactly like a couturier in a movie: immaculately groomed and dressed in perfectly cut, sludge-colored British tweeds that set off his lustrous tan. He flitted between Italian, French, or English, depending on who he was talking to amongst his cosmopolitan staff—and he didn’t miss a trick. “Is this woman a marsupial?” he asked, disdainfully tweaking a sagging panel on a bodice as the sheepish fitter frantically adjusted her mistake.

After the fitting, I was invited into Valentino’s inner sanctum, his private office. It was a Proustian hothouse of leopard and forest green carpet, deep button-backed Second Empire upholstery, banks of almond-green orchids, red and bone taffeta gingham check, malachite, raspberry fool Aubusson, gesso, exquisite 18th-century porcelain, and the heady scent of gardenias. Valentino sat beneath a school of Bronzino’s Portrait of Eleanor of Toledo and opposite a Belle Époque portrait of a mysterious elegante luxuriously dressed in black robes and a hat sprouting a surprised white feather. On the console tables beneath the portraits were inscribed photographs of the 20th-century beauties whom Valentino himself had dressed—legendary best-dressed icons whose first names were then all that sufficed: Diana, Margaret, Elizabeth, Noor, Jackie, Nancy—and whom he proceeded to discuss in reverent and rapturous terms. The atmosphere was Viscontian, and in dramatic contrast to Giancarlo Giammetti’s vast office next door, where the original owners of the palazzo had once received the Pope (who was a member of their family) when he came to call (and, frankly, still seemed more than adequate to that purpose). With its collection of 1930s Scuola Romana paintings and imperially scaled Empire furniture, it had an undeniable chic that can only be described as dictatorial. The palazzo had recently been renovated by two young English architects—Peter Moore and Peter Kent of David Davies—and the stairs were in gleaming pale marble with serpentine polished-steel banisters, while the modern pictures by Francesco Clemente and others that were hanging there on parchment walls left one in no doubt that although Valentino and Giancarlo relished the past, they were hip to the present and the future too.

(Valentino and Giancarlo were thinking beyond the brand as well. They had recently established an AIDS foundation that they named L.I.F.E.—for Lottare Informe Formare Educare: to fight, inform, train, and educate.)

I photographed some of the archive pieces from Valentino’s retrospective for my story in his pretty apricot-colored house on the storied Appian Way. He had conceived the interiors with the legendary Lorenzo Mongiardino, and they were a riot of chinoiserie and Orientalism, of tiger silk velvet, silk taffeta checks, and giant rose-patterned chintz. There was such a profusion of precious objects on every surface that the impeccable Brazilian butler and footmen moved sideways to avoid unhappy encounters with them. (At the time, Valentino also had atmospheric homes in Gstaad, London, Manhattan, and Capri, as well as a 140-foot yacht, TM Blue One.)

To celebrate the exhibition there were cocktails at the Capitoline, its staircase lit with flaming torches, and a tour of the exhibition installed at the Accademia, a former sculpture school owned by the Vatican. Trent Anni di Magia , it was called—“Thirty Years of Magic”—and it had been operatically designed by Jean-Paul Scarpitta with a battalion of Valentino’s red dresses, for instance, shown to a soundtrack from Carmen and jungle noises amongst the animalier prints.

The gala was at the Villa Medici, and the American glamazons of the day were out in force, racing to avoid the light fall of rain as they stepped from their limousines: Susan Gutfreund wore Valentino’s black-and-white crinoline; Lynn Wyatt wore his oyster, black, pink, and beige crinoline (both of these dresses are now in my collection, @hamishbowlescollection ). Ivana wore a skintight dress of black satin that looked as though she’d been filleted down the front, and had spilled forth a king’s ransom of pearls (Givenchy designed it—sharp intake of breath). That night, at the buffet banquet in the midnight blue marquee, Valentino cut a cake with a marzipan maquette of the Palazzo Mignanelli on top; Claudia Schiffer danced with Prince Kyril of Bulgaria; Dalma danced with Mikhail Baryshnikov; and Linda Evangelista swished about in a stiff, hot pink shantung to set off her new hair that she had just colored flaming Lypsinka red. Soon the fireworks of silver and gold lit the beauty that is Rome spread at our feet. And Valentino? He danced the night away with Elizabeth Taylor, whom he appeared to have dressed in white chiffon and moonlight and, caught in her violet gaze, he was beaming like the cat with the double cream as he lived out the dream that he had first dreamt as a boy.

Thank you for the memories, Valentino. They are all magical. And a very happy birthday.

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Mark C O’Flaherty

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I’m on Giancarlo Giammetti’s sofa in Knightsbridge, sitting beneath three vast Francis Bacons. The next day he is scheduled to accept the Outstanding Achievement Award at the British Fashion Awards on behalf of his long-term business partner, the 91-year-old couturier Valentino Garavani. “Those aren’t actually a triptych,” he says, gesturing at the impressive and contorted figures behind us. “I bought them individually and put them together.” Elsewhere there are giant Cy Twomblys and a larger-than-life silver silkscreened Elvis. Giammetti has made a career out of putting things together to dramatic effect, most notably one of the most successful fashion businesses in history.

It began when he met a talented but free-spending 28-year-old ingénue Garavani in Rome in 1960 — a charmed meeting of fresh design and business smarts. “I’m not famous for being nice,” smiles an absolutely charming Giammetti, who helped Garavani cut costs at the start. “I wanted to make sure Valentino wasn’t disturbed from his vision. That’s how he became what he became. It couldn’t happen now — you’re a superstar for two seasons, then gone. And just who are these so called ‘influencers’ influencing?”

Giammetti tells me he is “emotional” about the BFC award, “particularly because it’s 15 years after Valentino and I stopped actually working at the label”. He also says the fashion event at the Royal Albert Hall is part of a different universe from the one he was once a master of. “We left because the industry changed and meetings were all about money, not design. Sales forecasts decided what got created. The conglomerates made each label work to the same model. We couldn’t launch today. If we did, we’d be doing slow fashion, inviting fewer people to buy, at the highest quality. You don’t have to be judged on the number of dresses you make. And sustainability must be everyone’s preoccupation right now.”

While Giammetti won’t be drawn on the state of the Valentino business today, the biggest news in the industry last week was Gucci owner Kering’s completion of a deal to acquire a 30 per cent stake in the brand from Mayhoola, the Qatari investment fund that bought Valentino in 2012 and also owns Balmain. Valentino’s revenues were €1.4bn last year, and Kering paid €1.7bn for the shares. The deal gives Kering the option to buy the remaining 70 per cent of the company within five years.

Valentino has changed hands numerous times since its first sale in 1998 for $300mn to Holding di Partecipazioni Industriali — an immensely attractive deal for the two men at a time when the brand wasn’t the hottest of properties, and an opportunity for Valentino to refresh and expand with the deeper pockets of its new owners. Valentino was sold again for $210mn to Italian textile group Marzotto in 2002, reportedly at the behest of HdPI board member Gianni Agnelli, who was agitated by the couple’s incredible personal expenditure. (Of that, Giammetti says: “Gianni Agnelli was a friend of ours; he was a great charmer and fond of light-hearted jokes. I don’t think he ever really paid much attention to our expenses or to his own.”)

Garavani and Giammetti stayed on through the changes in ownership, eventually retiring after British private equity group Permira bought the company in a deal that valued the company at €2.6bn in 2007 — just before the financial crisis hit. That led, in 2009, to a debt restructuring and a subsequent roll of the dice by Mayhoola.

The pair remain on good terms with the maison and current creative director Pierpaolo Piccioli. “I go to the shows,” says Giammetti, “I talk with Pierpaolo all the time. Valentino watches them on video — some he likes, some less so, but there is always an obvious respect for the original work there.”

Spending time away in New York taught us so much — it took us away from the aristocratic notions we were used to in Europe

While the designer offered a much-admired purity and restraint in a 1960s market dominated by futurism and psychedelia, it was Giammetti who knew how to market it. He was early in recognising the value of celebrity and of a signature colour. “We surrounded ourselves with interesting people, like Diana Vreeland,” he says. “When Jackie Kennedy was widowed and wore Valentino, she was a great ambassador. We realised it wasn’t just about the clothes, it was about projecting a lifestyle. Spending time away in New York in the 1960s and 1970s taught us so much — it took us away from the aristocratic notions we were used to in Europe. And we have made great friends — Gwyneth Paltrow and Anne Hathaway are coming to celebrate the award in London, and they don’t need to be there. They are there for love.”

Before New York, there was — and still is — Rome. “One of the most important early moments for us was when our chief vendeuse announced they had rented their villa to Elizabeth Taylor,” he recalls. “She was in Italy making Cleopatra [in 1961]. We were going out with her, making peace between her and Richard Burton, and of course dressing her. When she wore a Valentino white dress at the premiere of Spartacus in 1960 and danced with Kirk Douglas, the photographs went around the world.”

Valentino hosted his first fashion show in 1962, which was a hit with buyers and socialites. But it was the all-white collection shown in 1968 that really propelled the name into uncharted territory, the same year Jackie Onassis wore Valentino for her wedding to Aristotle Onassis.

“We were selling a lot of clothes right from the beginning,” says Giammetti. “We also had the situation where the American department stores would pay to copy our dresses which was highly profitable.” Valentino launched ready-to-wear in 1970, and its first fragrance in 1978.

The next decade was driven by licences — around 70 in total, “right down to doing fabric toilet covers.” While Pierre Cardin rinsed out his credibility by lending his name to over 800 ever more ridiculous products, Valentino managed to survive the heyday of luxury licensing with its reputation less tarnished. “Valentino always had an eye on absolutely everything,” says Giammetti. “We could design fur and nightwear in the same studio as everything else, and for the Japanese market we had a separate designer.”

Garavani is now 91 and Giammetti 85, but both are still visible within the culture of Valentino. The transition to a new era seems successful so far. There’s been no undignified game of pass the parcel as there was with Halston and other once great houses after their sale.

Legacy remains top of mind — both of the fashion house that Mayhoola and Kering have taken possession of, and what they are now doing via the Valentino Garavani Foundation established in 2017. Although part of the focus of the Foundation is on the Valentino archive, most of it is on philanthropic causes, including a recent annex for a children’s hospital and a £200,000 award to the BFC, announced at the Fashion Awards, to support four emerging designers. The Foundation was also recently involved in the restoration of the Teatro Sociale in Garavani’s hometown of Voghera, which was renamed Teatro Valentino last month.

There’s still clearly an emotional investment in what appears on the runway. “I hope it’s regarded in the same way as Chanel is in 50 years,” says Giammetti. Meanwhile, the couple continue to enjoy the good life with their clique of celebrity friends (Victoria and David Beckham are among the inner circle who dine with them at home in London).

Ten years ago, Giammetti published a visual diary, Private , edited down from more than 50,000 photographs. Would he consider an update? “No, but I do like to post on Instagram, and everyone says I should write an autobiography. But if you do that, you have to be totally honest. And we all have things we want to hide.” Could he, I suggest, write it candidly for posthumous publication? He roars with laughter: “Absolutely not. I’d want to be around to enjoy the glory!”

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Valentino Garavani, the King of fashion turns 90

At least once in her life, any Italian woman has dreamed of wearing one of the great master's magical total red garments or accessories. Valentino Garavani .. An icon now all over the world, with the his style , Its know-how , his skill and his character with which today he also celebrates his own 90 years.

An important milestone for the stylist of Voghera who has dedicated an entire life to high fashion and dressmaking , through which he gave his name a very particular chromatic tone, now a legend since his trip to Spain. On that occasion, in fact, as an apprentice from Jean Desses , was able to reinvent an idea of Christian Dior.

Valentino 60s dress

Years after its inception in the sector, it is "Czar" of Italian fashion will celebrate the May 11 in Rome a very important birthday, also celebrating the story of haute couture del Bel Paese and the craftsmanship that has conquered the whole world.

Valentino red

The birthday will take place in an intimate and private way: among the guests the name of the business and life partner stands out Giancarlo giammetti , with other friends of the designer. The capital has always been the place of the heart for Valentino, since it opened in 1960 in Via Condotti his madison, a brand later sold in 1998 to the German maison for 500 billion, taken over from Marzotto group in 2022 and 2012 acquired by the Emir's wife of Qatar

The city itself is waiting impatiently for the kermesse event on 8 July, the day in which Valentino will officially present the autumn-winter 2022-23 collection in the background of Piazza Mignanelli e Trinity of the Mountains. " Roma it is where it all begins, life, people, our stories and our identities reside here. We belong to this place as much as it belongs to the world and to Valentino ”, he explained Pierparolo Piccioli , the creative director of the maison from 7 July 2016.

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Novosibirsk Oblast, Russia

The capital city of Novosibirsk oblast: Novosibirsk .

Novosibirsk Oblast - Overview

Novosibirsk Oblast is a federal subject of Russia, part of the Siberian Federal District. Novosibirsk is the capital city of the region.

The population of Novosibirsk Oblast is about 2,780,000 (2022), the area - 177,756 sq. km.

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History of Novosibirsk Oblast

Over thousands of years, the territory of the Novosibirsk region, due to its location on the border of natural zones and cultural regions (the Siberian taiga and the Eurasian steppe), played the role of a buffer zone or border zone of different peoples.

In the 13th-15th centuries, this land was the eastern outskirts of the Golden Horde. Later, until the end of the 16th century, it was part of the Siberian Khanate. In the 18th century, the territory of the present Novosibirsk region became part of the Russian Empire.

Despite the relatively favorable climate, the Russians began to settle here relatively late. The Barabin Tatars were the indigenous people. Today, their total population is about 10,000 people living mainly in the western parts of the region.

The Barabin Tatars were subjected to constant attacks of the Kalmyks (the Oyrates and Teleuts). Russian villages were also under the threat. That’s why people preferred to settle in the north, near Tomsk. Only at the end of the 17th century, Novosibirsk province became attractive to settlers.

More Historical Facts…

The first settlement was founded by the boyar son Alexey Kruglik in 1695. Later, this settlement became the village of Kruglikovo. Today, it is located in Bolotninsky district. In the early 18th century, Berdsky stockaded town was built. Over time, the threat from the nomads decreased and the number of settlers increased.

In 1722, the Siberian line of fortresses along the Irtysh River was constructed. The locals were mainly engaged in soil tilling, fishing and hunting. In the early 19th century, the famous Ural manufacturer Akinfiy Demidov constructed two copper melting plants here - Kolyvansky and Barnaulsky.

In 1893, due to the construction of the Trans-Siberian Railway and the railway bridge across the Ob River, Alexandrovsky settlement was built (from 1895 - Novonikolayevsky). Thanks to its convenient geographical location (the Trans-Siberian Railway crossing the Ob River, transportation ways connecting Siberia with the European part of the Russian Empire), its trade importance grew rapidly. In 1909, Novonikolayevsk became a town. In 1925, it was renamed in Novosibirsk.

Before 1921, the territory of Novosibirsk oblast was part of Tomsk gubernia, from 1921 to 1925 - of Novonikolayevsk gubernia, from 1925 to 1930 - of Siberian krai, from 1930 to 1937 - of West Siberian krai. September 28, 1937, West Siberian krai was divided into Novosibirsk oblast and Altay krai. This date is considered the official date of the region formation.

Novosibirsk Oblast - Features

Novosibirsk Oblast is located in the south east of the East-Siberian Plain, in the steppe, forest-steppe and taiga zones, between the Ob and the Irtysh rivers. The length of the region from west to east - 642 km, from north to south - 444 km.

The southern part of Vasyugan swamp, the largest swamp in the world, occupies the territory in the north and north-west of the province. In the southwest, it borders with Pavlodar oblast of Kazakhstan.

There are about 3,000 lakes on the territory of the Novosibirsk region. The largest lakes are Chany, Ubinskoye, Sartlan. Novosibirsk Reservoir also known as “the Ob Sea” (1,082 sq. km.) was created for Novosibirsk Hydroelectric Power Plant.

The climate is continental. The average temperature in January ranges from minus 16 degrees Celsius in the south and minus 20 degrees Celsius in the north. The average temperature in July - plus 18-20 degrees Celsius.

The largest cities and towns are Novosibirsk (1,621,000), Berdsk (103,500), Iskitim (54,700), Kuybishev (43,000). Novosibirsk is one the largest industrial, transport, scientific, and cultural center of Russia, the third most populous city in the country after Moscow and St. Petersburg. It is also the capital of the Siberian Federal District.

In the historical part of Novosibirsk you can find a lot of preserved monuments of the Russian Empire times. The Soviet era is presented by numerous scientific and cultural attractions, as well as beautiful parks.

There are more than 500 deposits of various mineral resources in Novosibirsk Oblast (coal, refractory clay, peat, anthracite). Natural gas and oil fields are located in the north-western part of the region. There are significant reserves of underground thermal and mineral waters. Forests cover about 4 million hectares, more than 20% of the territory.

Novosibirsk Oblast is one of the most industrially developed regions in Siberia (metal processing and machine building, food, power engineering, non-ferrous metallurgy industries). Heavy industries are concentrated in Novosibirsk, Iskitim and Berdsk.

The regional agriculture specializes in the cultivation of grain, potatoes and vegetables. Dairy cattle breeding, poultry farming and beekeeping are developed. The production of flax plays an important role too. Agricultural development of the territory is not high (about 48%). In general, it has about 25% of all agricultural land in Western Siberia.

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Nature of novosibirsk oblast.

Novosibirsk Oblast nature

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Steppe landscape in Novosibirsk Oblast

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Orthodox church in the Novosibirsk region

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Locations near Novosibirsk

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