1 — Perché le sfilate?, in “Cronache la Rinascente-Upim”, annata IX, numero 1, 1954


Presentation of the Spring/Summer collection at the Milan Rinascente store

2 / 3 / 4 — Presentazione dei modelli primavera-estate alla Rinascente di Milano, in “La Famiglia Rinascente-Upim” annata VII, numero 2, 1941

This elegant event, much loved by the ladies of Milan, enjoyed great success again this year, receiving the stamp of approval from its followers who flocked into the venue. The runway presentations gave the audience a chance to admire 140 wonderful outfits, all flawless in their vibrant elegance while still maintaining a refined simplicity


Fashion show at the Cagliari Rinascente store

5 — Presentazione della moda alla Rinascente di Cagliari, in “Cronache della Rinascente-Upim”, anno II, numero 1, 1948

At the beginning of April, the Cagliari Rinascente organised a fashion show to present the Spring/Summer fashions, which not only received considerable attention in the local press, but also stirred up interest among Sardinian ladies, who now view this Rinascente event as the most important appointment for each new season. The strong personality of the presenters was a defining aspect of the event. The catwalks welcomed models bearing names of Cagliari aristocracy


Spring/Summer fashion at the Cagliari Rinascente store

Fashion show of 31 March 1949

The presentation of the Spring/Summer collections at the Rinascente store in Cagliari is now a local tradition, and one could not find a better venue than the hall of the Hotel Excelsior, which opened in the Rinascente building.

6 — La moda primavera-estate alla Rinascente di Cagliari, in “Cronache della Rinascente-Upim”, annata III, numero 1, 1949

The space was actually too small, with only around 400 seats while the demand for tickets reached over one thousand. The admission tickets were sold, as previously, by the “Dame di carità di S. Vincenzo di Castello”, at a cost of two hundred and fifty lire, and were completely sold out two days before the event. In this way, the shows also took on a charitable dimension. The fashion show was a complete success. The ladies in the audience said that they honestly believed that the Rinascente collections were as good as the best ateliers across Europe, but at two or three times less the price

The fashion show in Cagliari

7 November, 1949

7 / 8 — La sfilata della moda a Cagliari, in “Cronache della Rinascente-Upim”, annata III, numero 4, 1949

A clear success, with much praise, applause and fondness for our company. All members of the Cagliari press published detailed reports with highly complementary words such as “fashion miracles for the Winter season at the Excelsior” and “captivating models in new women’s suits"


American Fashion. Rinascente fashion show at the Duomo Hotel in Milan

9 / 10 / 11 / 12 — La moda americana, in “Cronache Rinascente-Upim”, annata V, numero 4, 1950

American fashion makes its way to Italy with a fashion show organised by Rinascente at the Duomo Hotel in Milan. This news thrilled thousands of ladies and young girls, with the advert explaining that US fashion consists mainly of simply cut outfits with the miraculous ability to give (or restore) a youthful feel to women’s silhouettes

13 / 14 / 15 / 16 / 17 / 18 — Sfilata de la Rinascente presso l'Albergo Duomo, 1950

Archivi Farabola

Women wore smart outfits with soft and round shoulders, narrow waists and flared skirts. And then there were the accessories to complete the look: gloves, a hat, and high heels. The austere 1940s seemed a lifetime away…


Spring/Summer collections on show at the Tea Room of the Milan Rinascente store

2 April, 1951

19 / 20 — Silvana Bernasconi, Modelli di primavera e d’estate sfilano al Tea Room della Rinascente di Milano, in “Cronache Rinascente-Upim”, annata VI, numero 1, 1951

Down the runway came skirts with floral prints, pulled in at the waist with belts, and matched with a wide-brimmed hat and gloves, along with shirt dresses with double-breasted buttons and pleated skirts.

21 / 22 / 23 / 24 / 25 — Sfilata moda primavera estate al Tea Room de la Rinascente, 1951

Archivi Farabola

On the Tea Room stage, there was a spectacular presentation (complete with lighting effects, speakers and refined music) of the Spring/Summer fashions, with two hundred outfits including various Rosenfeld creations […] Modern Italian women are moving quickly towards off-the-rack outfits that allow them to keep up with the latest in fashion at all times without spending a fortune. This is the most marvellous wonder of our time – these prêt-à-porter outfits that are simple in form and free of any fancy frills and rigid structures that weigh down the outfit (thus having a youthful style), give their wearers a bold, successful and intelligent air. […] Thanks to the American ready-to-wear collections, mothers and daughters can both dress in a similar fashion from morning to evening, each looking more graceful and youthful

Silvana Bernasconi

The three highlights of the season’s fashion show at the Milan Rinascente

8 October, 1951

26 / 27 / 28 — Silvana Bernasconi, I tre tempi del più applaudito defilè di stagione alla Rinascente di Milano, in “Cronache Rinascente-Upim”, annata VI, numero 3, 1951

A spectacular, jovial and musical setting provided the backdrop for the new collection of Elle Erre outfits for Fall/Winter 1951. It was no longer American fashion being showcased but Italian outfits with the same technical characteristics, at the same price, and having the advantage of being matched to the styles and fabrics most preferred in our country for our tastes and sophistication […] On the small stage, a large, sturdy set of scales was set up, representing common sense, to teach ladies the best way to spend 7500 lire – the cost of an outfit that was put on one scale and that then had to be counterbalanced with useless items in the other […] Children also took to the stage with huge soft toys, and were a revelation as models

29 / 30 / 31 / 32 / 33 — Sfilata de la Rinascente di Milano, 1951

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34 — Spettatori alla sfilata de la Rinascente; al centro, il Presidente Umberto Brustio, 1951

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Fashion show of 24 March 1952

The models wore outfits of cross-over blouses and long-fringed skirts. The catwalk showcased shirts with bell sleeves and flared skirts, belted at the waist. Even the little ones were involved: little girls with light dresses and puffed sleeves, and little boys in shorts, shirts and jackets.

35 - 46 — Sfilata di modelli primaverili a la Rinascente, 1952

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Styles and colours at the Spring fashion show

16 March, 1953

47 / 48 / 49 — Silvana Bernasconi, Stile e colori della sfilata di primavera, in “Cronache la Rinascente-Upim”, annata VIII, numero 1, 1953

50 — Piccole danzatrici del Teatro alla Scala alla sfilata di primavera, presso il Tea-room de la Rinascente, 1953

Archivi Farabola

Only Italian Elle Erre creations, now the most in demand, are featured in the Spring show; the most suited to our tastes and imagination. Exuberant colours were on show: white, green, yellow, dark blue, every tone of beige imaginable, from lightest pastel to burnt sugar […] The Elle Erre styles? Let’s not forget that these are ready-to-wear collections, in all sizes but with their own personality and style that is particularly “youthful”. The suits are gracefully classic; the capes chic with quality tailoring; the dresses for the most part feature pleated or flared skirts, without any “fancy” adornments, and are enhanced with carefully chosen, vibrant accessories that contribute to a heightened sense of harmony

Silvana Bernasconi

51 / 52 / 53 / 54 / 55 / 56 — Sfilata di primavera con modelli Elle Erre, presso il Tea-room de la Rinascente, 1953

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Summer collection. Elle Erre on the Milan runways

28 April, 1953

57 — Elle Erre sulle passerelle milanesi, in “Cronache la Rinascente-Upim”, annata VIII, numero 2, 1953

The models wore Capri pants, paired with patterned blouses and shirts. Also showcased were light printed dresses with a boat neckline and tight belt at the waist. There were also poplin and piqué suits, comfortable and suitable for any occasion. The accessories featured include ballet flats, wide-brimmed hats and showy jewellery.

58 — Sfilata della collezione estiva Elle Erre a la Rinascente, 1953

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Light blue hornets and large butterflies with rainbow wings were able to fly over a green field that a creative scenographer had put in a vertical format to cover the walls of the tiny stage, providing the backdrop to the Summer fashion show of Elle Erre at the Milan Rinascente store and at the Teatro Manzoni theatre. The Elle Erre Summer collection was based on the theme of carefree joy and innocence in a cheery kaleidoscope of fabrics, perfect for their very affordable and appealing prices and their youthful style

59 — Silvana Bernasconi, La sfilata dei bambini, in "Cronache la Rinascente-Upim”, annata VIII, numero 2, 1953

60 — Sfilata della collezione estiva Elle Erre a la Rinascente, 1953

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The Elle Erre show A stunning interpretation of new trends

28 September, 1953

61 — La sfilata Elle Erre. Brillante interpretazione delle nuove tendenze, in “Cronache la Rinascente-Upim”, annata VIII, numero 3, 1953

62 — Sfilata delle confezioni Elle Erre presso il Tea-room de la Rinascente, 1953

Archivi Farabola

Fashion show in the Tea Room at the Milan Rinascente store. Innovation in fabrics and styles. Practical outfits were presented, with new colour and fabric pairings – grey and cream, and tweed and jersey. The event was a huge success, and the Elle Erre creations were exceptionally received.

63 / 64 / 65 / 66 — Sfilata delle confezioni Elle Erre al Teatro Manzoni, 1953

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Elle Erre in Milan, a formula of “current” fashion

29 April, 1954

67 — Elle Erre a Milano, formula di moda “attuale”, in “Cronache la Rinascente-Upim”, annata IX, numero 1, 1954

The show featured dresses, capes and suits, in various colours with particular accessories and the most fashionable fabrics of the time: cotton twill, shantung-organza, wool, silk and patterned tweed.

68 — Estrazione durante la sfilata de la Rinascente presso il Teatro Manzoni, 1954

Archivi Farabola

The Rinascente fashion show has turned into an established local event in Milan. It is no longer merely an in-house show: it is a spectacle, at the Teatro Manzoni theatre, with a high-spirited opening night and being an unmatched success among the public. An orchestra, a backdrop, and a stage that reaches out into the stalls are used, with an important and ever-changing star of the show: Elle Erre fashion. […] The leaflet offered to women states that “Ready-to-wear is synonymous with practicality. It gives elegance, usefulness, nonchalance, and comfort to women. It offers freedom. The expression “off-the-shelf” only has meaning in an industrial sense. It does not affect women, for whom ready-to-wear is an essential base on which to craft their own personality

69 / 70 — Sfilata de la Rinascente presso il Teatro Manzoni, 1954

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Our fashion shows. Summer is beautiful with Elle Erre dresses


71 — Le nostre sfilate. L’estate è bellissima con gli abiti Elle Erre, in “Cronache la Rinascente-Upim”, annata IX, numero 2, 1954

Public acclaim for the Rinascente fashion shows at the theatre on via Manzoni (Milan) and the Quattro Fontane theatre in Rome.

72 — La mostra dei “tessili dell’avvenire” a Venezia, in “Cronache la Rinascente-Upim”, annata IX, numero 2, 1954


Fashion show for young girls at the Milan Rinascente store

20 October, 1955

73 / 74 / 75 / 76 / 77 — Sfilata di modelli per ragazze a la Rinascente, 1955

Archivi Farabola

A fashion show dedicated to the women of the future. The models wore practical looks: trench coats with laced-up shoes, wool coats, headscarves and waterproof hats.

78 — Spettatrici alla sfilata di modelli per ragazze de la Rinascente, 1955

Archivi Farabola

79 — Elle Erre ha brillato a Düsseldorf, in “Cronache la Rinascente-Upim”, annata X, numero 1, 1955

Summer fashion shows in Milan and Rome


80 — Sfilate estive a Milano e Roma, in “Cronache la Rinascente-Upim”, annata X, numero 2, 1955


Fashion show at the Manzoni

26-28 April, 1956

81 — Sfilata al Manzoni, in “Cronache la Rinascente-Upim”, annata IX, numero 2, 1956

For Summer 1956, Rinascente presented (in front of a packed, invite-only audience), a series of summer outfits and swimwear. The presentation, which took place in Milan at the Teatro Manzoni theatre on 26, 27 and 28 April, and at the Teatro Sistina theatre in Rome on 3 May, was received with great enthusiasm by the audience, and the event’s success was supported by the charm and gracefulness of the models

82 / 83 / 84 / 85 — Sfilata per i dipendenti de la Rinascente, 1956

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Rinascente fashion show

26 April, 1957

Set against the beautiful backdrop of the Teatro Manzoni theatre in Milan, ultra-elegant and minimal coats, matched with hats, gloves and high heels, polka-dot shirt dresses with a fabric belt pulled in tightly at the waist hit the runway. With swimwear of course.

86 - 94 — Sfilata de la Rinascente presso il Teatro Manzoni di Milano, 1957

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The Rinascente fashion show at the Hotel Duomo

11 May, 1957

95 / 96 / 97 / 98 / 99 — Sfilata de la Rinascente presso l'Hotel Duomo, 1957

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A Milanese event featuring Parisian fashion

100 — Appuntamento a Milano con la moda di Parigi, in “Cronache la Rinascente-Upim”, annata XII, numero 13, 1959

Fashion is in Italy, London, Germany, and New York, but wherever it is, there must be - and there always is - a little bit of Paris

Edmonde Charles-Roux (editor-in-chief of Vogue)

101 / 102 — Sfilata de la Rinascente, 1959

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From 6 to 24 April, we hosted Paris at Rinascente: the “Vogue Boutique” event allowed all women to let their imagination run wild, opening the doors to that magical and mysterious world that is the creation of Haute Couture

Runway in Cagliari


103 — Passerella a Cagliari, in “Cronache la Rinascente-Upim”, annata XII, numero 14, 1959



104 — Marimekko, in “Cronache la Rinascente-Upim”, annata XII, numero 15, 1959

Finnish fashion has brought brilliant and cheery colours to Milan, as well as melancholy and intense shades, and unexpected pairings of colours with the ready-to-wear outfits on display at the Merimekko boutique in Helsinki, that are now on the second floor of the Duomo store: skirts and shirt-dresses, bags, assorted hats and belts, and charming child-like outfits are featured, to the joy of Milan’s ladies


Corrado presented the latest “Beach Fashion” collection in Cagliari

105 — Corrado ha presentato a Cagliari la nostra nuovissima “Moda-Mare”, in “Cronache la Rinascente-Upim”, annata XVIII, numero 37, 1965

Over 2000 people attended the fashion show at the end of May in a large city theatre, organised by the Cagliari Rinascente store. Corrado was there to present the “Beach Fashion” collection, which was met with great success. All visitors were given a complimentary gift at the entrance to the theatre


Beach fashion show at the Hilton in Rome

106 - Sfilate Rinascente Upim, in “Cronache la Rinascente-Upim”, annata XIX, numero 39, 1966


The Elle Erre fashion show at the Hilton Hotel in Rome

107 — Sfilate Rinascente Upim, in “Cronache la Rinascente-Upim”, annata XIX, numero 39, 1966

Over 4000 people attended the Spring-Summer collection presentation on 14 April, in two shows in the Hall of the Hotel Cavalieri Hilton in Rome, an event conceived by the Rome Rinascente store

High praise for the Cagliari fashion show


110 — Sfilate Rinascente Upim, in “Cronache la Rinascente-Upim”, annata XX, numero 41, 1966

"Summer at the sea and in the city” was the theme of the fashion show that was held in the afternoon and evening of 28 April at Cagliari’s Teatro Ariston theatre to present the latest from the Rinascente collection. Singer Nuccio Costa and Sardinian singer Marisa Sannia, along with the “Principi” group, also took part in the event. Colourful outfits were on the catwalk, and almost a record-breaking 5000 attendees were at the two shows


Fashion show at the Circolo lR

111 — Sfilata al Circolo de la Rinascente, 1968

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The lR fashion show for mothers and children in Cagliari

112 — La moda lR per mamme e bambine di Cagliari, in “Cronache la Rinascente-Upim”, annata XXIII, numero 54, 1970

A large audience crowded into the Teatro Ariston theatre in Cagliari on the evening of 24 October for a fashion show where Rinascente presented the latest looks for Fall/Winter. The show, hosted by well-known presenter Nuccio Costa, gave attendees a look into the whole range of women’s clothing from the Rinascente collections, from practical and simple casual dresses for the home to fancy cocktail dresses and evening gowns. Particular emphasis was placed on the fur coats, especially the more casual styles, and an extensive range of accessories. Also, eight children modelled a wide range of ready-to-wear outfits for the younger generation

A Fashion Show

“Cronache la Rinascente Upim”, annata XII, numero 15, 1959

When you attend a fashion show, admiring the models who take to the runway in a completely natural manner and sporting the ever-popular shirt-dresses, as well as the more whimsical outfits that define the new season’s fashion, you do not realise how much stress the event causes the organisers.

In fact, the preparation that goes into an haute couture show creates an electric atmosphere due mainly to the fear that the collection will not be to the public’s taste or, even more importantly, to that of the fashion experts and critics. And it is a mistake to think that the “princes of fashion” are now so confident in their own creations that they are not afraid when the time comes to present them: the more famous a fashion house is, the more intense and electric the atmosphere is before the premiere. There is a tradition to uphold and maintain, there are public and press expectations, and, also, success or failure depends on many external factors which are nigh impossible to control. It may happen, in fact, that in the room there are some of the so-called “misery makers”, who managed to slip in despite careful surveillance; or that the collection (however well organised) does not immediately convey a sense of the new or that their novel quality is not recognised; or that the outfits are not showcased in a way to merit acclaim. But the danger that the “big names” fear most is that of being copied; therefore, anyone who enters the hall where a show is held must testify to their occupation and specify where they work and for whom.

A collection can be presented in two different ways. Each outfit is chosen according to the type of model who will wear it and completed with accessories, or (and more commonly) it may be worn and presented without any particular concern for the personality of the model, and finished off with details just as the model steps onto the runway. Generally, this second working method is more popular as it is more emotive so to speak.

One almost unresolvable problem is that of the connection that the model can make with the public or not, which often determines the success of an outfit. This is why fashion designers create their outfits by thinking of the model as a specific type of woman.

The only fashion creator of today who does not do this, and is recognised as such worldwide for this, is Balenciaga, who instead chooses models that do not represent a specific archetype, because he believes (supported by his creative ability) that an outfit should be beautiful regardless of the woman who wears it. No amateur or non-expert can imagine what it means to present a collection. However, a few hours in an atelier during the days leading up to a show is undoubtedly an experience that everyone should try

Luis Hidalgo