The Bite Magazine - Autumn/Winter 2022 - Issue 32

bitefashion The designer and her husband owned a vast private art collection of paintings by Futur- ist artist Giacomo Balla, forming part of the Biagiotti Cigna Foundation, exhibited at the Pushkin Museum in Moscow in 1996 and Bramante Cloister in Rome in 1998. In 2017, the year she died, a selection of 116 paintings from the entire collection of 300 most popular and significant Giacomo Balla masterpieces was exhibited at the Estorick Collection of Modern Italian Art in London. After showing her collections globally, Laura settled at the Piccolo Teatro Studio in Milan in 1999. She partnered with her daughter Lavinia to establish a bond be- tween fashion and sports, featuring the Sydney 2000 Olympics champions walking down the runway wrapped in a cashmere Italian flag. She was the first Italian fashion designer to invest in golf, inaugurating the Marco Simone Golf Club, one of Italy’s most beautiful golf courses outside of Rome. The 27-hole golf course is built on 150 hectares of her castle grounds. From working with Angelo Tarlazzi to pro- duce a line of ready-to-wear clothing for women to taking over cashmere company MacPherson and creating phenomenon garments, Laura Biagiotti catapulted into the fashion world. Her comfortable and fun-to-wear clothing helped flatten women’s silhouettes. She was one of the first design- ers to introduce the wearable coordinate concept after using the same white jacket for three ensembles in her debut collection since it had limited garments. Laura Biagiotti incorporated Italian tra- dition into her collections with a youthful spirit combined with distinction and luxu- ry. You will also find elegance, chicness and a polished finish. The designer once said, “Elegance, taste, and creativity have be- longed to the Italian tradition and character for centuries, and I share this privilege with other Italian designers.” The Laura Biagiotti look is often described as tasteful and con- servative yet creative and insightful. For Fall-Winter 2022, Laura Biagiotti pre- sented its Energy of Beauty collection at the fascinating and evocative Centrale Monte- martini museum in the heart of Rome, Italy. This exhibition space, converted in 1997, demonstrated how industrial and classic archaeology could co-exist and create a