Segmento - Unapologetically Italian Issue XXXIII

Segmento – Unapologetically Italian Issue XXXIV • April-June 2024

Cover

Hair & Makeup

Masha Leaves

Fashion Designer and Stylist

Lucy Laurita

Photographer An La Model

Eryn Saunders

Contributors to the XXXIV Issue of Segmento

Photographers

Michele Abastante

An La

Chiara Corbelletto

Jay Farnworth

Gadfium

Manuele

Sebastiano Motta

David St George

Writers

Giovanni Butera

Raffaele Caputo

Catherine Cervasio

Gisella Cozzo

Erika Genovese

Claudia Goundar

Giovanni Macrì

Elena Rajani

Stefano Riela

Claudia Scotellaro

Isabella Vagnoni

Angela Viora

Publisher and Editor-in-Chief

Dr Giovanni Butera segmento@segmento.com.au

Assistant Editor and Translator

Christopher Fotheringham

Contributing Editor Raffaele Caputo

Graphic Artist

Aurora Delfino design@segmento.com.au

Website & Social media Managers

Ambra Dalmasso & Edoardo Vijge socialmedia@segmento.com.au

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EverGreening focuses on massive land restoration efforts to address food insecurity, rural poverty, climate change and land degradation. For donations please visit www.donorbox.org/green-up-to-cool-down

Cari Lettori,

The articles and interviews featured in this issue of Segmento form an intricate blend of tradition, innovation, sustainability and collective well-being, crafting what we might call “La Vita Eco-Bella.”

Through these narratives we showcase the lives of individuals like Giuseppe Cannata, whose commitment to community support speaks volumes about our innate humanity. New contributor Erika Genovese spoke to folk musicians Kavisha Mazzella and Elvira Andreoli and explores the role of folk culture in a multicultural society, while interior designer Elena Tajani probes the sustainable design principles of a handful of pioneering companies that are leading the way to a greener future. We also talk to Chiara Corbelletto, an Italian visual artist based in New Zealand, whose most recent sculpture 1001 Spheres - commissioned by Auckland City Council - is dedicated to gender equality.

Sustainability isn't merely a trend, it's a way of life. Italian fashion houses, as writes Natasha Richards, are at the forefront of integrating style with eco-conscious

living, prioritizing quality over quantity and championing timeless elegance over fleeting trends.

Stefano Riela showcases the Eroica cycling event in Tuscany, an event that attracts cycling enthusiasts from around the world, offering a green alternative to exploring Tuscany’s rolling hills, lush vineyards, its ancient sites and picturesque towns. We also invite the readers to pedal alongside other enthusiasts: Gisella Cozzo writes on the cultural significance of the Sanremo Music Festival, and Angela Viora traces the journey of Seresilk, an innovative Australian cruelty-free skincare product created by a young Italo-Australian entrepreneur.

Amidst pressing environmental challenges, the Italian way of life serves as a beacon of hope and inspiration. It reminds us that sustainability is not a sacrifice but a celebration of our connection to the earth, to each other, and to the simple joys that enrich our lives.

Buona lettura e a presto!

Giovanni Butera

Erika Genovese

Raffaele Caputo

Giovanni Butera

TOURISM & PLACES

Unexpected Calabria in 100 Unique Landmarks by Lenin Montesanto

Embracing Authenticity: Exploring Italy's Hidden Gems by Claudia Scodellaro

Catherina Cervasio

The Origins of Calabrian Cuisine by Claudia Goundar

BUSINESS & INNOVATION

“Pedaling” in History by Stefano Riela

The Silk Road to Beauty by Angela Viora

Unlocking the Potential of Tropea by Giovanni Macrì

A SILENT HERO’S LEGACY

A COMMUNITY LEADER WITH UNCOMMON QUALITIES

Interview by Giovanni Butera | Images provided by Giuseppe Cannata

Segmento interviewed Giuseppe Cannata, a self-made pillar of the community who, for over forty years, worked behind the scenes to help support immigrants arriving in Australia from Sicily and all over the world.

In a bustling street of Melbourne, among the clinking of coffee cups and the aroma of freshly baked pastries, there’s a story that resonates deeply within the hearts of those who have been fortunate enough to cross paths with Giuseppe Cannata. His journey from the picturesque town of Francofonte near Syracuse in Sicily to the vibrant city of Melbourne is not just one of geographical transition but a testament to the indomitable spirit of human kindness and compassion.

Arriving in Australia in 1983, Giuseppe brought with him not only his skills as an artisan specializing in steelwork but also a heart full of empathy and a desire to make a difference in the lives of others. Initially, he found himself immersed in maintenance work for Victoria’s public transport system, dedicating his days to ensuring the smooth functioning of essential services.

In 1993, however, Giuseppe’s life took a different turn. He made a leap of faith and opened Caffe e Torta, a cozy café

Coasit, Melbourne. Ceremony for the donation of Carretto Siciliano to Museo Italiano by Famiglia Siciliana Group. From the left: Ubaldo Aglianò, Giuseppe Cannata, Hon James Merlino, Maria Cannata, Orazio Mammola and the Committee Members of Famiglia Siciliana

nestled in the heart of central Melbourne. The café became more than just a business venture. It became a haven for those seeking warmth, both in the form of steaming cups of coffee and in the presence of Giuseppe himself.

Another turning point came with the arrival of his first granddaughter. For Giuseppe, family has always been the cornerstone of his existence, and the birth of his granddaughter served as a poignant reminder of where his true priorities lay. Thus, he decided to step back from the café and dedicate more time to his loved ones.

However, Giuseppe’s legacy extends far beyond the confines of his family or his business. In parallel to his professional endeavors, he embarked on a journey of selfless service, devoting most of his free time to helping others, particularly new immigrants making their way to Australia from Sicily and beyond.

For these newcomers, Giuseppe was more than just a mentor or a guide, addressing practical issues like visa applications, employment opportunities, or driving licenses. He was a beacon of hope in a sea of uncertainty. He welcomed them into his home, extending hospitality in its purest form by inviting them to his dinner table and offering a listening ear to their worries and fears. Having walked in their shoes, he understood the many challenges that accompany migration— the loneliness, the cultural barriers, the sense of displacement—challenges that often go unnoticed.

GLOBAL & SOCIAL ENGAGEMENT

Ava Cannata, Giuseppe Cannata, Maria Cannata

Giuseppe’s approach was simple yet profound—he offered companionship as well as assistance, creating a sense of belonging and fostering a community where everyone was valued and accepted. Society often celebrates grand gestures and larger-than-life personalities, but in

Giuseppe, we are reminded of the immense power of small acts of kindness—a silent hero whose impact transcends boundaries.

After facing a personal health challenge a few years ago, Guiseppe demonstrated his resilience by overcoming adversity and, true to his nature, continued his mission to help those in need. With renewed vigor, he returned to his role as a pillar of support for the immigrant community, embodying the spirit of perseverance and dedication.

In December 2023, Giuseppe received a well-deserved recognition from the Victorian Government. He was honored with a place on the Multicultural Honour Roll, a prestigious accolade that acknowledged the exceptional efforts he made and his lasting contribution to multiculturalism in Victoria. It was a moment of validation for Giuseppe. His achievements are symbolic—true heroism lies not in grand gestures or flashy displays of bravery but in quiet, everyday acts of kindness.

Giuseppe Cannata may be a silent hero, but his legacy speaks volumes—a legacy of compassion, empathy, and unwavering dedication to making the world a better place, one small act of kindness at a time.

Hon. Ingrid Stitt, Victorian Minister for Multicultural Affairs, Giuseppe Cannata recipient of “Multicultural Award for Excellence 2023" and Professor The Honourable Margaret Gardner AC Governor of Victoria.

FOLK MUSIC AND ITALIAN ROOTS

AN INTERVIEW WITH TWO FOLK MUSIC SINGERS AND SONGWRITERS

by Erika Genovese | Images provided by Sebastiano Motta, Manuele

Segmento interviewed two Melburnian musicians keeping folk music alive. Kavisha Mazzella and Elvira Andreoli, both independent singers and songwriters, discuss the role of folk culture in a multicultural society.

Italian immigrants who arrived in Australia in the 1950s and 60s brought their folk music traditions with them. These traditions live on and flourish among second and third-generation Italians, who learn about Italy through songs, tales, and memories.

Kavisha Mazzella’s father hails from the island of Ischia in the Bay of Naples, and her mother is Anglo-Burmese. Her parents migrated to Australia in the 1960s and brought with them their passion for music

and storytelling. Elvira Andreoli’s parents are from le Marche and Campania. She was born in Melbourne and discovered music when she was about ten years old. She listened to her mother singing Italian pop music while washing the dishes.

Despite their different upbringing and backgrounds, Andreoli and Mazzella share a love for Italian folk music, in which they retrace their respective family histories and harbor an inherited nostalgia for a land they experienced second-hand.

Songwriter and artist Kavisha Mazzella practicing sound-healing with bowl. Photo Manuele

They connect over their family stories of immigration.

After many years directing Joys of the Women Italian Choir in Fremantle, Mazzella founded the La Voce Della Luna, an Italian women’s choir created for the Melbourne season of the play Emma Celebrazione. Mazzella led the choir from 1996 to 2013 before passing the role of choirmaster on to Andreoli, who is still the director.

Mazzella’s and Andreoli’s musical and professional careers are strikingly similar. They were both heavily influenced by the personal stories of their families and of an entire community that emigrated in the mid-twentieth century.

Mazella explains:

The Italy I know lives in my imagination. It is based on the stories told to me by my aunts and grandmother. I connected to Italy through these people and asked myself, “How can I access this Italy?” This thirst for Italy comes from an eagerness to find my identity.

She firmly believes that the folk music she listened to as a child influenced the music she composes today. She is also open to other influences and traditions from across the globe, citing a recent interest in flamenco. Mazzella’s songwriting career began as a way to tell the story of immigrants and recount a past that she wanted desperately to bring to light. Her music pays tribute to the Italian immigrants, mostly farmers, who gave

Singer and musician Elvira Andreoli. Photo Sebastiano Motta

up everything they knew and came to Australia to give their sons and daughters a better future.

For Elvira Andreoli, folk music is a channel to connect with her ancestors. “Instruments migrate with people; I see my father reflected in the new generations of people coming to Australia, enjoying folk music as much as the older generations,” she said. Music and song offer her direct emotional access to the nostalgia she feels for her family’s past.

Andreoli plays with a cover band called The Rustica Project, a band that celebrates and pays homage to Italian traditions. She takes inspiration from Mimmo Cavallaro, an Italian folk singer from Calabria, who modernized traditional folk music and made it accessible to young people. He changed pop music to folk music.

Both singers play the same music and songs, usually pop songs, which they heard their parents and grandparents sing while working in the fields or the factories. For Mazzella, the older generation sang with “uneducated voices.” They didn’t follow a metric or song structure but provided a frame and rhythm for their day-to-day grind.

A key aspect highlighted by both Mazzella and Andreoli is the language of the songs. Their parents came to Australia at a time when Italy was still, linguistically speaking, fragmented. Each region had, and continues to have, its dialect. That was their first language, the language they spoke at home, and the language in which they thought. Andreoli commented:

There’s something special about hearing a dialect. When they first arrived in Australia, speaking dialect was very much “frowned upon.” You can actually feel a sense of the disappearance of dialect in Italy. Today, to rediscover true Italian traditions as well as dialect, you have to go to the immigrants abroad. Some time ago, I met up with my aunt, who lives in Italy, and when I asked her that we go together to

Elvira Andreoli and the Rustica Project

Kavisha Mazzella

buy girasi [cherries], she could not remember what that word meant.

When asked about the health of dialect and folk music, Mazzella doesn’t believe dialect is destined for extinction. “Even folk music, it can almost disappear, imploding, only to suddenly come back to life and flourish,” Mazzella says.

In 2016, Kavisha worked in Hobart, Tasmania, with Italian immigrants who arrived in Hobart in the 50s to work on the Hydro Scheme. She was commissioned by the 10 Days on the Island Festival to create a show. She called it Mia Casa Mio Cuore, which incorporates stories of migration, gratitude to Australia, and nostalgia for the Bel Paese—and a perfect summary of folk music’s historical and social value. It is inscribed with the history, languages, customs, and traditions of a distant land, preserving its culture and identity in its new home and taking on a new life.

And, as Elvira points out, folk music brings the generations together. Older people are moved when they hear the songs they grew up with, alive and well and in the hands of an enthusiastic younger generation. Their music bridges space and time, with people from diverse backgrounds able to find resonances with their traditions in the folk music of others.

TO FIND OUT MORE!

Kavisha Mazzella

can be found at Saint Mark’s Church on Clifton Hill in Melbourne every Monday night, practicing with her mixed choir, Lingua Madre Italian Folk Choir.

Elvira Andreoli and the Rustica Project are on Facebook and have a YouTube channel that is constantly updated with recordings and information about upcoming gigs.

BRIDGING CULTURES, BREAKING STEREOTYPES

ORGANIZED CRIME AND TRANSNATIONAL IDENTITIES

by Raffaele Caputo | Images provided by Anna Sergi

Anna Sergi, Professor of Criminology at Essex University talks to Segmento about her research project challenging stereotypes and misconceptions surrounding organized crime within Italian communities abroad.

What triggered your interest in studying organized crime, particularly mafiatype groups such as the ‘ndrangheta?

My interest in studying the ‘ndrangheta is multilayered. My father was an important influence. He was a journalist in Calabria for the newspaper La Repubblica. For many years, he reported on the horrors and bloodshed of ‘ndrangheta feuds and

kidnappings in the 1970s, ’80s, and ’90s. His experience clearly shaped my understanding of what was going on in Calabria when I was growing up. My second drive was definitely linked to my studies. I studied law in the north of Italy, where no one knew about the ‘ndrangheta Later, when I moved away from Italy and went to London to study for a master’s in law, the idea of the mafia was very much the stereotypical notion linked to America and The Godfather movies. It was very different from my Calabrian experience. The marginality that Calabria had in the minds of many when it came to the mafia was eventually the reason why I decided to devote my research to this topic.

Your research brings to mind the Hydra, that multi-headed Greek monster battled by Heracles, which, as soon as one head is cut off, grows another. Would the Hydra be an apt metaphor for how mafiatype groups operate regionally and globally? And if so, what are the key factors that contribute to that type of adaptability?

Yes, the Hydra would be an apt metaphor for mafia groups of Calabrian origin both in Italy and abroad. I have defined the ‘ndrangheta as a polycephalous organized crime group with many heads: the first head being the criminal one, the visible one, mostly drugs and money laundering; the second head being the behavioral one, the one that unfortunately attempts to manipulate ethnic solidarity and the migrant community; the third one is

Professor Anna Sergi

organizational, which is generally invisible to the common eye. The key factors that contribute to the adaptability of the ‘ndrangheta worldwide are the particular links with some of the most conservative cultural elements of Calabria and the exploitation and ability to twist such cultural elements for personal gain abroad as they do in Calabria. More importantly, the ‘ndrangheta is currently focused on the transnational drug trade. This is because it has the resources and the connections to run risks that many other organized crime groups today are not able to absorb.

What are common myths or misconceptions about today’s mafia-type groups that you have encountered in law enforcement agencies and the media?

The most common myth about the ‘ndrangheta today is the so-called ethnicity trap. This trap is the misconception that shared ethnicity is a deterministic drive that brings people with common origins together in organized crime. Understanding the distinction and boundaries between what seems like cultural determinism and the necessary individual agency to truly belong to the ‘ndrangheta presents a challenge. Law enforcement finds it difficult to understand how the Calabrian migrant community in Australia is itself a victim of the involvement of some elements of the community in mafia-type organized crime.

Is explaining cultural identity an important aspect of understanding

the dynamics of organized crime groups?

The experience of growing up in a certain family, with its values and norms, does influence the inter-generational evolution of communities and personal decisions and identity. These affect behavior and collective identity, in turn. While the concept of culture is very difficult to define, it is extremely important to understand how beliefs, norms, and traditions affect behaviors. Behaviors— both individual and collective—are what effectively shape intent, choices, and risk-taking and eventually also criminal intent, choices, and risk taking. So yes, understanding identity and keeping an eye on the changes in identity, especially within migrant communities, is, in my opinion, an important element in identifying possible evolution in organized crime behaviors.

Can you discuss any emerging trends or shifts in the dynamics of organized crime that you’ve observed in recent years?

The ‘ndrangheta is a mafia group; it is more than just organized crime. It is a system of power that feeds on power and wealth to maintain the status quo for a few. The ‘ndrangheta is a conservative social actor, and as such, I do not see many changes in the way they behave, especially in terms of their power-seeking. However, intergenerational changes, including technological advancement and the consolidation of education as a driver for personal choices and individual

responsibility, especially within migrant groups, are going to pose an important challenge for the transnational grip of the ‘ndrangheta clans. Unless they adapt to these changes, which in the past they have done to some extent, some of the current intergenerational challenges might mean a very different future for some clans of this group. Organized crime, more generally, will not need to change as much as long as capitalist economies offer gaps in the market and criminalization of certain industries, including the drug trade. As long as there is criminalization and a gap—that is, a demand—organized crime will profit from certain illicit markets.

Can you discuss your current research?

The project is funded by the British Academy and the Leverhulme Trust in the UK. We are exploring the world of Italian/Calabrian migrant families in various parts of Australia, the changes these families face across generations, and the challenges of defining and maintaining transcultural identities. These are identities characterized by cultural stratifications. The goal of the project is to explain how the migrant and family experience can help define the ‘ndrangheta as a “deviant” version of the “common” Calabrian/Italian migrant culture in the same way as it is a sub-cultural, twisted product of Calabrian/Italian culture back in Italy. This, in turn, will help us fight the stigma about the mafia around Calabrian and Italian communities.

THE 1001 SPHERES OF AN ARTIST A JOURNEY OF ART

AND ADVOCACY

by Giovanni Butera | Images provided by Chiara Corbelletto

Segmento speaks to artist Chiara Corbelletto about her life as an Italian visual artist working in Aotearoa-New Zealand, and about her most recent public sculpture dedicated to gender equality, 1001 Spheres, commissioned by Auckland City Council for the beautiful Monte Cecilia Park.

Born in the picturesque town of Biella, in the Italian region of Piedmont, Chiara Corbelletto’s artistic odyssey commenced as a graduate of the Modigliani Art School in Novara (also in Piedmont) and as an architecture graduate from the University of Milan. It was, however, in 1981, when she embarked on a journey to embrace a new cultural milieu on the other side of the world, that her creativity truly flourished. She landed in Auckland, on the north island of Aotearoa-NZ, and there, amid its vibrant landscapes, and after a number of years as an art restorer, she ultimately found her voice.

Corbelletto has been a visual artist in Aotearoa-NZ for more than thirty years. Renowned for her compelling public

sculptures, she has left an indelible mark on the artistic landscape. Her extensive record includes exhibitions, installations in public galleries and museums, a public gallery retrospective, public art commissions, and art integrated into architecture-civic projects.

This vast layering of Corbelleto’s evolving body of work is too complex to summarise, but a connecting thread can be found in the intersection between art, mathematical, and scientific thinking. Her recurring investigations are about space, the structure of form, the language of replicated forms, and how organized complexity can emerge out of simplicity … not easy concepts to express with threedimensional sculpture.

Chiara Corbelletto, 1001 Spheres, Aotearoa-New Zealand, 2023. Commissioned by Public Art Auckland and dedicated to the journey towards gender equality

Another layer to mention is her mastery of her craft and its flawless execution. She says, “This is a culturally intrinsic aspect of my education, having grown up in the golden days of Italian design, where the aspiration to beautifully made objects was omnipresent. The experience of beauty is necessary and can be satisfying and profound. It is an emotional response to an intangible essence that can be embedded in the work by striving for that quality.”

In 2004, Corbelletto made the bold decision to move her studio to the Corban Estate Arts Centre, a move that would provide her with the space and resources to fully realize her artistic vision. It was here that she embarked on her most ambitious projects to date, producing large-scale sculptures for parks, universities, city councils, and private collectors.

Among her most renowned works is Numbers are the Language of Nature, a bronze sculpture commissioned in 2005 for the central city and historic Auckland Domain. This mesmerizing sculpture, with its intricate interplay of three-dimensional form, serves as a testament to Corbelletto’s mastery at provoking thought and awe in equal measure.

Her most recent public art project is a meaningful departure and possibly an indication of the future of her work. In 2023, Corbelletto once again captivated audiences with the unveiling of 1001 Spheres, a public sculpture dedicated to gender equality. It was commissioned by Auckland Council to mark the 125th

Chiara Corbelletto in front of her 1001 Spheres, Monte Cecilia Park, Aotearoa-New Zealand, 2023

1001 Spheres. Details of the polished stainless steel dome, reflecting the surrounding environment and viewers. Photo David St George

anniversary of women’s suffrage in New Zealand, the first country in the world where women won the right to vote.

Located in Monte Cecilia Park, a 15-hectare urban park with expansive views, rolling hills, and large exotic trees, once a huge private estate, 1001 Spheres serves as a poignant reminder of women’s resilience and fortitude throughout the history of the ongoing struggle for gender equality, and of women’s contribution in all spheres of life. A joyous presence in the park, this sculpture invites viewers to reflect on the legacy of those who paved the way toward a more inclusive and equitable society.

Three defining features of 1001 Spheres convey its powerful message. The wire hemisphere, crafted from hundreds of intersecting wires, symbolizes the myriad paths crossed by the suffragist movement and the waves of feminism that continue to shape our world. The spheres nestled within the sculpture evoke a radiant future of possibilities, while the repeating circles that form its structure speak to the ideals of inclusiveness and equality. The sculpture has initiated a program of public engagement designed to engage diverse audiences in conversation about the evolving concepts of gender equality and gender identity in today’s society.

Corbelletto is also very involved with the Italian community in AotearoaNew Zealand. She served for five years as a member of the first Com.It.Es NZ (the elected council representing resident Italians abroad), and in 2016,

1001 Spheres. Details of the double wired hemisphere and the vibrant multitude of spheres. Photo Jay Farnworth

Hybrid Encounter, SCAPE Public Art, Botanic Gardens, Christchurch, 2019. Photo Chiara Corbelletto

spearheaded Ondazzurra, the only Italian podcast program produced in NZ, with the intention to preserve and celebrate Italian identity in NZ.

Ondazzurra is a labor of love for Corbelletto, who has produced more than 310 episodes of interviews and conversations organized in thematic series that examine cultural, economic, literary, and bi-cultural issues. Overall, the podcast serves as a vital repository of the Italian presence in New Zealand, capturing the voices and experiences of generations past and present. This commitment has cemented her legacy as a cultural innovator. Moreover, reflecting on her 1001 Spheres, we are reminded of the power of art to transcend boundaries and unite us in a shared celebration of beauty, diversity, and humanity.

Chiara Corbelletto, through her evocative sculptures and fostering of Italian culture, is inspiring future generations to dream boldly. In her hands, spheres and wire hemispheres become vessels for the human spirit, weaving stories of strength, resilience, and hope that will echo for generations to come.

The team at Ondazzurra, the podcast providing a voice to the Italian Community in New Zealand

Number are the Language of Nature, bronze sculpture commissioned by Auckland Domain, New Zealand, 2005.

Photo Gadfium

THE BEATING HEART OF SANREMO ITALY’S

MOST ICONIC MUSICAL FESTIVAL EXPOSED

by Gisella Cozzo | Images provided by Gisella Cozzo

Step into the heart of the Sanremo Song Festival 2024 through the eyes of Segmento’s Ambassador Gisella Cozzo, an Italian-Australian singer-songwriter, as she delves into the vibrant atmosphere and cultural significance of this iconic event.

Ihave had a lifelong affection for the festival. I fondly remember watching it with my family on the opposite side of the hemisphere. For my family, Italian music served as a powerful connection to home. Music gave us a sense of cultural belonging that transcended distance.

To truly understand the allure of the Sanremo Festival, one must venture into the breathtaking landscape of the Riviera dei Fiori outside the hubbub and bustle of the festival week. But as an Italian-Australian singer-songwriter from Melbourne now residing in Milan, I was keen to offer Segmento readers a front-row seat to the vibrant spectacle of Sanremo.

While Sanremo boasts a plethora of events throughout the year, including the iconic Milano-Sanremo cycling race and the historic Casino of Sanremo, the Sanremo Song Festival truly takes center stage. Transforming the city into an entertainment hub akin to Las Vegas, the festival emerges as a vibrant tapestry of culture and ingenuity—a pulsating platform where dreams come to life.

While the Ariston Theater serves as the festival’s focal point, it merely scratches the surface of the bustling activity unfolding throughout the City of Flowers. From rankings and first listenings to gossip and anecdotes, Sanremo becomes a sprawling community united by a shared passion for music—a truly national event that captivates the nation.

As the festival unfolds, everyone becomes an expert in music, lyrics, fashion, and

commentary, immersing themselves in the magical atmosphere that momentarily transports them from the trials of daily life. The festival invites participants to dream and live as if they were artists themselves, contributing to a unique and exhilarating experience.

From early-morning chats over coffee to late-night revelry aboard the dazzling

Gisella Cozzo at Sanremo Music Festival, February 2024

cruise ship—the festival’s remote venue— Sanremo comes alive amidst its glittering lights. There’s a sense of camaraderie that transcends the ordinary, inviting all to revel in the joy of artistic expression.

While the festival garners widespread attention, there are parallel events that offer a glimpse into Sanremo’s multifaceted cultural landscape. From the Sanremo Christian Festival to the “Sanremoin” evening hosted by Novella 2000, each event adds depth and richness to the festival experience, showcasing the city's vibrant spirit of creativity and innovation.

The Ariston Theatre becomes an impregnable fortress surrounded by security and media personnel. Yet beyond its walls lie bustling streets adorned with radio trucks and eager fans eagerly awaiting the arrival of their favorite artists.

This year’s edition witnessed a departure from traditional Sanremo Festival fare, with each artist infusing their unique identity into their performances. Under the expert guidance of Artistic Director Amadeus and Fiorello’s incomparable showmanship, the festival evolved into a mesmerizing spectacle that captivated audiences nationwide.

In a surprising turn of events, the Gen Z generation dominated the top spots—a testament to their ability to connect with audiences and convey their sentiments through music. Angelina Mango, 22 yearold prodigy from a lineage of musical legends, emerged as the victor, showcasing

ART & CULTURE

Sanremo Festival anchorman Fiorello with Gisella Cozzo at Sanremo 2024

not only her vocal prowess but also her stage presence and artistry.

Raised in a household steeped in music, Angelina’s victory culminated in a poignant rendition of “La Rondine,” performed in homage to her father Pino Mango, which capitvated audiences and solidified her status as a rising star.

As the festival drew to a close, one thing was abundantly clear: the Sanremo Song Festival continues to profoundly influence Italy’s cultural landscape, inspiring generations of musical artists, and highligting the transformative power of music—a universal language that transcends boundaries and unites us all.

Giselle Cozzo, Segmento’s Ambassador to Sanremo, at the Novella 2000 post-festival celebrations.

Top 5 performers at Sanremo 2024. From left, Angelina Mango, Annalisa, Irama, Geolier and Ghali.

Angelina Mango

Emerson Engineer Gabriele Pasturi tells us about his twin loves in the form of two cities of art.

I have two Italian cities in my heart, Benevento and Florence. Visiting the Uffizi Gallery, seeing artworks from Botticelli, DaVinci, and Michelangelo, and having a simple ribollita soup followed by a bistecca alla fiorentina at a trattoria near Ponte Vecchio is a tonic for my soul. Benevento gives me much or the same, plus the family connections. Being able to walk down the same cobblestone streets where Romans marched through the Arch of Trajan is a profound experience. Still, my favorite place to visit is my cousin’s bakery, Panificio Raffaele Caruso, founded by my uncle, and eating the world’s best cornetto, followed up by a quick stop at the Alberti Strega store for some torrone.

Melbourne homemaker Ann-Elizabeth B’s top pick is a nostalgic throwback.

Growing up in Europe, the highlight of our summer holidays was going on road trips with my parents. It always felt like going on an adventure as the destination was decided, but not the itinerary. In the early 70s, during one of those trips, we ended up on the shores of Lago di Garda. We settled down in a hotel in Sirmione. We spent the remainder of our holidays there, taking daily sightseeing trips, visiting the beautiful medieval towns around the lake, and venturing even further to Brescia, Verona, or Venice. We went back to Lago di Garda several times after that initial trip creating precious childhood memories for me. The last time I visited was in 2014, and the magic of these magnificent surroundings was still intact.

ANN-ELIZABETH B

Homemaker

GABRIELE PASTURI

Engineer at Emerson

We asked Segmento readers whether there is a city or town in Italy that holds a special place in their hearts and the reason behind its significance to them.

Freelancer Adrian Rossi from Melbourne discovered a hidden gem in his grandfather’s hometown.

My father hailed from Casale Monferrato in Piedmont, Italy. Before one of my visits to this ancient town, I stumbled upon an old book about Casale that my father’s cousin, Gino, had given him years ago. Curiously, it featured a photo of what appeared to be La Scala Opera House in Milan. However, upon closer inspection, I realized it was actually a snapshot of Casale's Teatro Municipale. Determined to see it for myself, I visited the theater on my next trip to Italy. Although it was closed on Sundays, a kind elderly lady let me in when she learned I had traveled all the way from Australia. To my amazement, inside lay a splendid miniature replica of La Scala, hidden in plain sight.

Nestled along the mesmerizing coastline of Sardinia, S’abba e sa Pedra has a spellbinding allure that captivates the soul. Its pristine beaches and crystalline waters lapping against golden sands evoke serenity and wonder. The town, with its quaint streets dripping with vibrant bougainvillea and flanked with ancient stone buildings steeped in history, invites exploration and discovery at every turn. However, it’s not just the picturesque scenery that enchants the visitor; it is the warm embrace of its people, their rich culture, and delectable cuisine that truly make S’abba e sa Pedra a place to fall in love with and cherish forever.

VivaVoce

LORENZO GIBERTI

Entrepreneur

ADRIAN ROSSI Self-employed

Lorenzo Gilberti, entrepreneur, and his little slice of Sardinian paradise.

PARADISO CERAMICS

HAND-MADE CERAMICS USING RENAISSANCE-ERA TECHNIQUES IN UMBRIA

From Deruta in Umbria to Crookwell in NSW, Marg Anderson and Jan Pont, along with their good friends Mike and Marguerite Walsh, import Australia’s largest range of glazed Italian earthenware through their business Paradiso Ceramics. by Isabella Vagnoni | Images provided by Paradiso Ceramics

Deruta ceramics are eye-catching, vibrant, and made using quality craftsmanship. Deruta is a medieval hill town in Perugia, the capital city of Umbria, Italy’s green heart. Umbria is the only region in Italy that does not border the sea or another country. The region is known for its lush green landscapes and local cuisine, and the town of Deruta has long been known as a center for Italian ceramics. Deruta ceramics are part of the tradition of glazed Italian earthenware known as maiolica

The peak era for Italian ceramics was during the early Renaissance period in the 15th century. Italian ceramics from this period were known as istoriato ware because they were painted with stories depicting historical and mythical scenes. By the late 15th century, multiple locations, mainly in northern and central Italy, were producing high-quality pieces for a sophisticated market in Italy and across the globe. Deruta ceramics were among the most prized in Italy.

In Deruta, the artisans create the maiolica using centuries-old techniques, including throwing clay on a potter’s wheel, carefully hand-molding each piece, and painting intricate and colorful designs. Marg Anderson explains, “You can see the brush strokes where the artists have hand-painted their intricate designs.”

Marg and Jan Pont first fell in love with Italian ceramics during a holiday to Italy in 2006. Since then, the pair have returned to Deruta many times to purchase ceramics for their home, including a dinner set,

lamps, bowls, and jugs. After some time, their friends Mike and Marguerite Walsh suggested teaming up to import Deruta ceramics. The pair were delighted by the suggestion and hopped on a plane to Deruta for a buying spree. They came back with stunning maiolica, and Paradiso Ceramics was launched in December 2017. Today, the team imports Australia’s largest range of glazed Italian earthenware. Their 20-hectare property in Crookwell, NSW, includes a showroom. Customers can view the Paradiso Ceramics range of serving ware, homewares, and lava stone tables and collect pieces by appointment.

We are passionate about the beauty of these products and helping artists in this small Umbrian town continue to ply their ancient craft. We carefully select objects that convey the hand-crafted element in the shapes, textures, and colours of the finished works. It is a true privilege to work with these artisans and help them continue to ply their ancient crafts.

Paradiso Ceramics, Table on terrace set with Giglio plates

STEP 2: FIRST FIRING

The dried piece is cleaned and sanded to remove any imperfections. It is loaded onto a large rack and wheeled into the kiln for firing. The first firing occurs at about 1000 degrees Celsius. After firing, the kiln must remain closed for many hours, allowing the temperature to cool gradually. A dramatic drop in temperature can cause thermal shock and crack the delicate pieces. When fired, the pieces take on the classic terracotta colour and are now referred to as biscotto (bisque or biscuit). The pieces are still porous and fragile at this stage and need to be glazed to turn them into functional pieces of art.

The creative process of making maiolica remains the same as it was 500 years ago. To create a single piece of maiolica requires a lengthy five-step process:

STEP 1: MOLDING THE CLAY

A potter throws a lump of refined clay on a wheel, skilfully shaping it into the various canonical forms associated with the tradition. Depending on the piece, a mold or press may also be used to shape the clay. The piece is then left to naturally air dry for up to three days. Once dry, it becomes light grey. At this stage, it is ready for its first firing in the kiln.

STEP 3: GLAZING

Once cooled, the unfinished pottery pieces are dipped into a bath of fast-drying liquid glaze (typically white or cream). Now wholly covered by the glaze, the biscotti are ready for painting. This glaze layer prevents the colours from spreading and blurring into each other during the painting process.

STEP 4: PAINTING

Artisans use several techniques to paint the pieces. The artist may paint the motifs free-hand. Complex designs can be transferred onto the piece using a paper stencil. Sticks of carbon are gently tapped onto a paper stencil to produce a fine powder, marking the contours of the designs through tiny holes in the paper. Sometimes, the paints used to produce

STEP 5: FINAL FIRING

The painted ceramics are again loaded into the kiln for a final firing. The second firing occurs at around 950 degrees Celsius. This delicate process requires great care to avoid scratching any item to be fired. The final firing may take up to 24 hours, with more than 12 hours of constant extreme heat. Like the first firing, it is necessary to let the kiln cool down naturally to avoid cracks from forming.

Marg explained that in Deruta, there is a school where students can learn the traditional techniques of making maiolica as well as how to paint intricate patterns. Six designs form the foundation of Italian ceramics or classic Deruta designs, and they are Antico Deruta, Bordato, Orvieto, Raffaellesco, Ricco Deruta, and Siena.

Marg explained that as you wander through the charming streets of Deruta, “you can see a lot of cafes with lava stone tables. Some will have platters as serving wear. The houses that we stay in are full of maiolica. It’s part of the way that the older generation lives.”

the colors are quite different from the colors that appear after the final firing, as chemical processes occurring at high temperatures change the appearance of the glaze radically. Ceramicists need to understand how the firing will affect their glazes and work accordingly–skill and knowledge gained over many years of experience.

Deruta is part of the organization I Borghi più belli d’Italia (the most beautiful villages in Italy). The organization seeks to preserve small Italian towns with immense historical, artistic, and cultural heritage. It also promotes food and wine traditions, religious and secular festivals, and beautiful landscapes.

Set of plates, jar and salt & pepper grinders by Giglio

Ceramiche Paradiso

THE JOURNEY TO SUSTAINABLE PRODUCT DESIGN ITALY

AND AUSTRALIA AT THE FOREFRONT

by Elena Rajani

Sustainable design principles are permeating various industries, highlighting pioneering companies and technologies at the forefront of creating a more sustainable future. These include several small companies with eco-friendly values.

Sustainable design starts at the beginning of a product’s lifecycle: production. The focus is on minimizing energy consumption, from sourcing local materials to the assembly and completion of the final product. Material selection is crucial, preferring natural, recyclable components that decompose quickly or can be recycled to minimize environmental footprints.

Reducing the use of adhesives and chemical components further diminishes the ecological impact. The type of energy consumed during production is equally important. Sustainable practices

emphasize clean energy sources such as solar, hydroelectric, and wind to significantly reduce or eliminate their carbon footprint. This shift not only addresses the immediate impacts of production but also aligns with broader efforts to combat climate change and adhere to global agreements like the Paris Agreement on limiting global warming. For example, Cosentino, a company committed to clean energy,

Nylon Clothing Material by Lululemond: first recycled nylon lower-impact alternative textiles

Cosentino Parque solar installation

established one of Europe’s largest photovoltaic installations to guarantee that 100% of the electrical energy used in the Dekton® manufacturing process comes from certified renewable electricity. Dekton is a material used in architecture and interiors, replacing natural stone for worktops, floors, and wall cladding.

Another essential aspect of sustainable design is product durability. The longer a product lasts, the less strain it places on resources and waste management systems. This approach is in stark contrast to lowquality products and single-use items, which epitomize unsustainability. A great exception, however, is composite takeaway serving plates made from plant fibers and organic materials, such as those developed by BioPak.

recycling of components. For instance, traditional Italian techniques enable the assembly of mainly timber parts without the need for glue. This tradition has been embraced by famous design companies like Moooi, which has launched cabinets that revisit the classic “no glue, no screw” concept.

Natural materials like cork, orange peel, or clay have also been creatively repurposed to create lamps and chandeliers by the London-based Studio Arp.

Designing products for easy assembly and disassembly allows for the efficient

Various products are now made from 100% recycled plastic retrieved from oceans: cabinet handles, construction bricks, sunglasses, and fashion, including sportswear, are contributing to cleaning our waters. Another exciting development involves using these plastics to create 3D-printed new products or, as exemplified by Parley, collaborating with artists to create sculptures.

Cabinet by Moooi

Cabinet handles made from recycled plastic

Design Cups by BioPak

Organic clays, bearing the signature of the Italian Matteo Brioni, are now imported in Australia through Kastex, offering users a wide array of eco-friendly colour options for their walls.

The end of a product’s lifecycle and the concept of a circular economy are crucial aspects of sustainable product design. The system revolves around the idea of

products being made to be made again, thus closing the loop on waste and creating a more efficient use of resources.

Pentatonic is one company at the forefront of this movement, creating contemporary designer homeware from post-consumer waste. Their approach involves consumers directly in the recycling process, offering a buy-back guarantee to ensure materials can be reused indefinitely.

Matteo Brioni render clay

Studio Arp, Champagne Cork Lid

Interior Designer

Stylist and

UNEXPECTED

CALABRIA IN 100 UNIQUE

LANDMARKS

CALABRIA REVEALS ITS HIDDEN CHARMS

by Lenin Montesanto | Images provided by Lenin Montesanto

Calabria is a destination for the spirit that also satisfies the body. It is, as the Arbëreshë writer Carmine Abate would say, “a sum of opposing and violent impressions and perceptions, moving and irresistible.” It doesn’t sedate the traveler. Instead, it keeps them alive, alert, clear headed, and in love.

The modern traveller is faced with limitless choices. But are they really choices, or more of the same? We have options that we can count as more or less appealing, but, in the end, they are rendered banal because we are choosing from the same menu, reproduced everywhere. We hope that visitors to Calabria will strip away the clichés and discover something profound in this distinctive part of Italy. With this goal in mind, the region of Calabria has designated 100 Unique Identity Landmarks (MIDs)— monuments, archaeological artefacts and points of interest that are found only in Calabria.

Sibarita, Banchetto Greco

Lenin Montesanto, MID Program, Calabria Region

Visitors might be surprised to discover how many heroes of the Ancient Greek world were from Calabria. In Crotone, Pythagoras teased out the theorem that bears his name and founded an academy. Here, too, lived and trained great athletes of the classical era. Among them were the undefeated Olympic wrestler Milo, and Phayllos, the warrior-athlete who helped defend Athens during the Battle of Salamis. This was where Alcmaeon, renowned as the father of anatomy and physiology, lived and worked; where Nossis, the sole attested female poet of Magna Grecia, and artistic rival to the more widely known Sappho, plucked at her lyre and made her mark on history; and it was home to Zaleucus the Lawgiver, one of the greatest innovators in legal history. The legacy of Magna Graecia can also be felt in Cirò in the hinterland of the province of Crotone where the grapes that produced Krimisa, the legendary

wine that fueled the athletes at the ancient Olympics, are still grown today.

Then there is Sibari, the birthplace of Lysis, another of the ancient world’s greatest jurists. Sibari was a city so rich, luxurious and sensuous in its day that the original meaning of “Sybarite” as denoting a hedonistic lifestyle remains in modern usage.

On a stretch of coastline known as the Coast of the Gods, one can explore Tropea, the symbolic heart of the area. Not only is it known for its iconic red onions but also as the birthplace of the Bojano brothers (Vianeo), considered the pioneers of ancient angioplasty and the most famous rhinoplasty surgeons of the 16th century, in whose Calabrian studio were reconstructed the noses of several notable European grandees of the age. Venturing further north into the Greek Sila region, one can discover the distinctiveness

Luigi Lilio

BoJano brothers

of locales such as Longobucco, situated in the province of Cosenza. This town holds historical significance as the birthplace of one of the greatest surgeons of the Middle Ages, Bruno da Longobucco, a pioneer whose contributions laid the foundation for modern surgical practices. Other notable scientific figures hailing from Calabria include Luigi Lilio, credited with inventing the Gregorian Calendar in the 16th century—a calendar universally adopted today—and Giano Lacinio, a Franciscan theologian who revolutionized the field of alchemy.

In Corigliano-Rossano, also in the province of Cosenza, the newly arrived Grand Tourist can view the Codex Purpureus Rossanensis. This artifact is the oldest surviving uncial Greek manuscript, dating back to the 5th–7th century, chronicling the life of Christ. It is the only manuscript of its kind to be exhibited in a museum. Within its pages are to be found (1) the

Palatino

Codex Purpureus Rossanensis. Photo Michele Abastante

earliest depiction of The Last Supper, offering a more authentic portrayal than Leonardo da Vinci’s renowned rendition; (2) the oldest known nocturnal scene in Christian art history; (3) the earliest cycle of miniatures depicting the life of Christ within a Greek manuscript; and (4) the most ancient depictions of a courtroom and the Four Evangelists. Another remarkable site is the tomb of Herodotus in Thurii, a city which the father of history had a part in founding along with other colonists at Pericles’ behest.

The region boasts the Abbey of Santa Maria del Patire, the wealthiest scriptorium of the Norman era. It was also home to Giovanni Battista Palatino, the illustrious calligrapher of the Renaissance, renowned as the author of the most widely printed writing manual in history. Notable too as the birthplace of Pope Urban VII, who holds the record for the shortest reign in papal history. Lastly, the area is celebrated for Amarelli, the only licorice company in the world with a museum dedicated to licorice. Its pioneering industrial extraction techniques, known as Conci, originated in Calabria, and its licorice stands as a pinnacle of quality in the global market.

In the heart of the Cosenza province, the mountainous regions of Fagnano Castello and San Benedetto Ullano host small lakes harboring a remarkable inhabitant—a newt recognized as a living fossil, exclusive to this area. This relic of prehistoric times, officially identified in 1983, encapsulates the unexpected wonders of Calabria within its scientific name: Triturus Alpestris Inexpectatus!

Calabria is the premier destination for the new Grand Tour, epitomizing a landscape rich in identity and distinction. It is a place open to all who yearn for moments of profound meaning and authenticity, and wish to rediscover themselves anew.

Romito Cave

EMBRACING AUTHENTICITY EXPLORING

ITALY'S HIDDEN GEMS

by Claudia Scotellaro | Images provided by Vivilocal

In Italy’s idyllic villages, authenticity thrives. Far from being relics of the past, these small communities pulsate with life, embodying a rich tapestry of culture, tradition, and connection. Here, the essence of Italy's heritage is not merely preserved but celebrated.

It is within this enchanting backdrop that ViviLocal finds its inspiration. The idea blossomed from a simple desire to share the beauty and simplicity of Italian life, uncover the essence of Italy beyond the well-trodden paths, and to create meaningful connections that transcend language barriers and cultural differences.

Drawing from the poetry of everyday moments, ViviLocal offers curated itineraries that immerse travellers in the heart of Italy's vibrant communities.

From the rugged coastline of Cilento to the charming villages of Val di Noto, each destination is carefully selected to provide an authentic experience. Travellers can wander through ancient streets, savour regional cuisines, and forge genuine connections with the local citizenry.

From the majestic heights of Val di Rhemes to the sun-kissed shores of Maratea, ViviLocal beckons travellers to connect with Italy’s natural wonders, inviting them to listen to the whispers of nature and the stories of those who call these places home.

When the sun sets on each day of discovery, travellers are left with memories that linger long after their journey has ended.

Eva Perricone and Claudia Scotellaro

CILENTO & MARATEA

The Cilento Coast is a breathtaking stretch of coastline situated in the Campania region of southern Italy, along the Tyrrhenian Sea. Renowned for its unspoiled beaches, crystal-clear waters, and characterised by charming fishing villages, picturesque inland hamlets, and verdant Mediterranean vegetation, the Cilento Coast offers aweinspiring vistas and a tranquil ambiance. Maratea, nestled in the Basilicata region, is a picturesque coastal village overlooking the Tyrrhenian Sea. Dubbed "the pearl of the Tyrrhenian," Maratea boasts spectacular scenery with its rugged cliffs, secluded coves, and azure waters. The town’s charm extends through its quaint medieval streets, whitewashed buildings, and historic churches, including the iconic Christ the Redeemer statue atop Monte San Biagio.

VAL DI RHEMES

Val di Rhemes is a place like no other, imbued with its own distinctly enchanting magic. Nestled in the Aosta Valley of northwestern Italy, this alpine valley is steeped in folklore, legends and fairy tales passed down through generations.

Renowned for its stunning natural beauty, Val di Rhemes is surrounded by towering peaks, lush forests, and pristine meadows, where time seems to have stood still. As a beautiful part of the Gran Paradiso National Park, Italy's oldest national park, it is home to diverse wildlife, including ibex, chamois, marmots, and golden eagles.

VAL DI NOTO

Val di Noto in Sicily, home to several UNESCO World Heritage sites, including the cities of Ragusa, Modica, and Noto itself. Noto is renowned for its stunning Baroque architecture, elaborate facades, ornate churches, and charming streetscapes.

The itinerary includes visit to Palazzolo Acreide and to Marzamemi. Palazzolo Acreide, a charming and historically significant village, traces its origins to the Greek and Roman periods. It boasts the Greek Theatre, an ancient amphitheatre dating back to the 3rd century BC, and the Akrai Archaeological Park.

Marzamemi, a picturesque fishing village, is renowned for its scenic harbor, sandy beaches, and historic architecture. With a rich maritime heritage dating back to Phoenician and Roman times, the village is famous for its tuna fishing tradition. This heritage is celebrated annually with the Tuna Festival, featuring music, dance, and, of course, plenty of delicious tunabased dishes.

Join us on a journey to embrace the soul of Italy

LOVE. LAUGH. PROTECT.

animals with kids the earth

A CHEF'S LIFE - SWEET AS PIE

ITALIAN-SCOTTISH CHEF RAYMOND CAPALDI’S GLOBE-SPANNING CAREER

by Catherina Cervasio | Images provided by Raymond Capaldi

Steeped in history and famous for its emerald green rolling hills, Edinburgh boasts some of the world’s most popular cultural festivals and numerous UNESCO World Heritage sites. It’s also where chef and restaurateur Raymond Capaldi’s earliest culinary memories were forged.

Born in 1965 to a Scottish mother and Italian father, Capaldi says his Italian heritage played a pivotal role in his development as a chef. He recalls fondly the family’s large, festive celebrations of Christmas and Easter, where lunch was akin to a glorious, modern-day degustation. The meat used for the ragù for the primo piatto of spaghetti, for example, was served as a secondo piatto Platters laden with homemade salami and pickles and marinades from garden-grown vegetables were spread out on the table with freshly baked bread and homemade wine.

With his parents both working, Capaldi spent hours at a time with his grandparents, frequently visiting the local beaches and forests. His nonno often took him out to forage for mushrooms. “He taught me how to identify the mushrooms and then carefully place them in a woven basket while allowing their spores to drop to the forest floor to help continue the mushroom’s life cycle.” Capaldi would then return home and be shown how to cook a wild mushroom omelet.

Capaldi also recalls how the windows of the town’s local Italian delicatessen, the now famous Valvona & Crolla, used to be covered up. “My friends were always curious about this unusual shop with strange smells and would wonder what exactly was inside.” Salt-cured meats, spicy cheese, and hard, crusty bread from the store would make their way into his lunchbox, the contents of which were the subject of jokes among his school peers. But it was these early food experiences

that are responsible for who Capaldi is as a chef today.

Cooking with his mother from around the age of 10, Capaldi says he loved the “romance” of food, always wanting to present his dish in a “fancy” way, similar to a restaurant. Although the family had a fish and chip shop, he recalls the food there was always cooked to order using the freshest fish from the market and new potatoes (the Capaldi name is still connected to fish and chips across Scotland to this day).

A talented soccer player, an injury halted teenage Capaldi’s hopes of pursuing his dream career. He found himself with no option but to reluctantly quit the team he was a part of and, in the process, waved goodbye to a contract that was on the

Chef Raymond Capaldi with his partner Jodi Crocker

table. At the time, he recalls his options were either a career as a painter and decorator or a chef. He decided to focus on his other passion, food.

Working in a country pub at age 15 was an eye-opener for Capaldi. “The kitchen had five chefs; I remember watching them all walking around with scissors in their pockets and wondering why. Then I noticed cartons being delivered and was surprised to watch the chefs open them, revealing pre-cooked duck à l’orange in sealed plastic bags. The chefs warmed each duck portion in its bag and put it on a plate. I then realized the scissors were used to cut up the herbs, which would be sprinkled on the dish prior to serving.” This was not what Capaldi had in mind when he chose to become a chef. Over a short period, one by one, the five chefs left the pub, and it was only then that Capaldi attempted to prepare

the duck dish from scratch. This led him to begin an apprenticeship at age 16 at British Transport Hotels—the hotels and catering business associated with British Rail—where, according to Capaldi, “you had to be extremely tough to work in the kitchen.” Yet, he credits this “brutal” first experience with setting him firmly on the path to becoming a globe-trotting chef.

From the Dorchester Hotel in London to The Martinez in Cannes, Capaldi went on to cook in some of the most prestigious five-star kitchens around the world. At the luxury golf estate Glen Eagles in Scotland, he says guests included Sean Connery, who would fly in for a round of golf, Sylvester Stallone, and Princess Margaret, who had a riding school nearby. He then took up a position with Hong Kong’s Park Lane and then Regent Hotel, eventually landing at Melbourne’s Regent (rebranded Sofitel in 1996), where he went on to set up the Sofitel cooking academy.

About his early days in Australia, Capaldi says he loved the way in which food was embraced, particularly in Melbourne, with daily newspapers having pages dedicated purely to food—something unheard of in Europe. “I loved the multicultural food scene in Melbourne. Cooking here was so different from what I was used to. It was all about the food on the plate, nothing fancy, taking simple food and making it amazing.” He went on to open several successful restaurants. Gourmet Traveller referred to his food at Fenix as ‘brave, inspired and brilliant,’ and his awardwinning Hare & Grace was renowned for its nod to contemporary Australian

Wonder Pies by Chef Capaldi

cuisine. Then, after years of the fast-paced life of hospitality across Europe, Asia, and Australia, Capaldi was ready for a change of pace. In 2018 he founded Wonder Pies, a wholesale baked goods business that highlights locally sourced ingredients in a novel way. No ordinary pies here—think confit duck, lasagne filled, and bacon and egg pies.

With catering at his core and with his partner Jodi Crocker on board, Capaldi is focusing on what he loves, providing baked goods, artisan bread, and gourmet food services to restaurants and events, including the Australia Open and the Grand Prix. He believes that at the heart of any good business is good leadership. “You need to create and then foster a great culture, and you must take care of your staff.” He sees food as medicine, saying we need to nourish ourselves by eating good food, “food has a big part to play in our health; we are becoming a society where we don’t appreciate the small things in life.”

With more than 9,000 cookbooks on hand and a 100-seat event space at his head office in Melbourne, Capaldi is on a quest for knowledge and wants to share what he can with the industry. His dream is to have an association where chefs and hospitality workers can come together, ask questions in a safe environment, and be supported on their journeys. And his favorite dish of all time? His mother’s spaghetti ragù, of course!

Slow braised beef cheek in red wine jus, chickpeas and glazed onion

THE ORIGINS OF CALABRIAN CUISINE

THE HISTORICAL AND GEOGRAPHICAL ROOTS OF A FIERY CUISINE

by Claudia Goundar

Exploring Calabrian cuisine unveils a journey through time, geography, and culture. Calabria’s culinary heritage bears the marks of ancient civilizations and diverse landscapes. From coastal bounty to rustic mountain fare, each dish tells a story of resilience, tradition, and innovation.

Calabria is the southernmost region of mainland Italy, hugged by the Ionian and Tyrrhenian Seas. It occupies the “toe” of the Italian boot. With 780 kilometers of craggy coastline, extensive fertile plains, and 630,000 hectares of soaring mountains, Calabria’s cuisine is influenced as much by its varied landscapes as by its long history of absorbing foreign influences from the invaders and traders drawn to its shores over millennia.

Calabria was home to numerous prosperous ancient Greek colonies before becoming a province of the Roman Empire. After falling to the Ostrogoths upon the collapse of the Empire, Calabria would be taken by the Byzantines under Justinian who in their turn were supplanted by the Normans. While never establishing dominance over Calabria like they had in Sicily, the Arabs did establish some fortified settlements along the coast from which they exerted limited control

Praia a Mara, in the Province of Cosenza

and engaged in trade. Falling under the dominion of the Spanish in the 15th century and becoming a key province of the cosmopolitan Kingdom of the Two Sicilies, Calabria’s proximity to the coast of North Africa, hugging the sea lanes of the Strait of Messina has meant that the region has always been at the intersection of civilizations each one leaving a culinary legacy. Each wave of rulers has affected the region not only culturally but also economically.

Descending from the lofty heights of the region’s shifting courtly traditions, however, we realize that Calabria’s core cuisine is essentially una cucina povera, a culinary ethos born from peasant traditions. Simple yet ingenious, Calabrian cooking transformed frugality and humble ingredients into culinary specialties that have endured generations. Calabria has five provinces, each one boasting a unique culinary tradition. However, there is one common thread that unites the delicacies of each locale–a dedication to lavish antipasti consisting of light morsels, combining modest ingredients, including eggplant or mushrooms preserved in oil, local olives, various kinds of cheese, and cured meats, each region, of course, emphasizing the gems of its local agricultural and artisanal culinary traditions.

Separated from Sicily by the Strait of Messina and from Puglia by the Gulf of Taranto, Calabria is surrounded by the sea, offering ample seafood opportunities in coastal towns. Meanwhile, verdant plains and nutrient-rich soil allow for the cultivation of a dizzying variety of

heirloom fruits, vegetables, and herbs, many of which, like the Tropea red onion, can be found nowhere else. The culinary specialties in the province of Cosenza in north Calabria are largely intertwined with its seaside location. Freshly caught seafood, including swordfish, cod, and sardines, forms the cornerstone of local dishes, reflecting venerable traditions of swordfish fishing dating back to the second century.

A dish deriving from this tradition, ‘Pesce Spada Alla Ghiotta,’ epitomizes this maritime heritage. Consisting of a succulent steak of fish stewed in a medley of tomatoes, olives, capers, and fragrant herbs, the delicacy is quintessentially Mediterranean. Inland, steep mountains are home to flocks of hill-loving animals, contributing to comforting dishes centered around meats and cheese. Despite its coastal location, Cosenza offers a “hearty” dish (literally). Mazzacorde alla cosentina is a popular local delicacy featuring lamb entrails–tripe, lung, heart, spleen, and intestines–seasoned with garlic, tomatoes, basil, oregano, and spicy red chili pepper

Pesce spada alla ghiotta

showcasing the region’s bold and rustic flavors.

The cuisine of the Catanzaro province, in the hills of central Calabria, stands as a testament to agricultural excellence. The province’s fertile land yields a bounty of fresh produce, including peppers, potatoes, olives, grapes, beans, asparagus, artichokes, beans, and a range of legumes—all of which are Calabrian agricultural specialties. However, it is the tomato and eggplant that reign supreme, forming the basis of many traditional dishes, including Melanzane alla Calabrese, a rustic dish made from simple ingredients. Slices of eggplant are layered with tomatoes, basil, and Pecorino cheese before being baked to crisp perfection in

Exemplifying la cucina povera, another local dish is Bucatini mollicata. This timeless recipe, handed down through generations, sees bucatini pasta—thick hollow spaghetti-like strands resembling narrow straws— tossed in a sauce of saltcured anchovies, garlic, chili pepper, olive oil, bread crumbs, and Pecorino cheese.

Descending into the southern province of Reggio Calabria, the landscape gives way to undulating hills and mountainous crags, with the pastoral lifestyle of its inhabitants shaping the local cuisine. The terrain is ideal for the production of Caciocavallo Silano, a semi-hard cheese made from cow’s milk aged in the area’s caves. The distinct flavour of this local cheese complements home-made bread and cured meats, including capocollo and sopressata—a spicy, smokey Calabrian sausage. Another local product, Butirro, a pear-shaped kneaded-curd cheese, exudes a delicate scent of flowers and fruits and is highly prized by locals. Characterized by its stringy texture, the exterior is solid cheese, while the core is like pure butter. Turning to sweets, Petrali is a tribute to both la cucina povera and Reggio Calabria’s imperial history. These crescent-shaped shortbread biscuits filled with various the oven.

Bucatini mollicata

Caciocavallo Silano

fillings, from dried fruit to hazelnut cream, bear witness to Calabria’s Arab influence. Traditionally prepared in December for the Christmas period, these biscuits, like many deriving from peasant origins, are the result of pantry remnants.

Calabria’s humid climate has influenced preservation techniques, including salting, curing, and smoking, which have given rise to many regional cured meats and ‘Nduja. This spicy spreadable salami has gained popularity both within Italy and internationally. Another traditional preservation method, known as sottʼolio or “under oil,” involves preserving vegetables in olive oil. These age-old techniques, dating back thousands of years, played a crucial role in helping locals survive long periods of famine.

Despite being deeply rooted in Imperial history and influenced by diverse rulers, Calabria’s time-honoured culinary traditions do not impede its capacity to embrace innovation and adaptation. While recipes from bygone eras continue to be cherished and preserved, both chefs

and home cooks alike are not afraid to explore new ingredients and techniques, resulting in a fusion of traditional and contemporary influences. Calabrian cuisine integrates both local and nonnative foods, including dried figs, licorice, Tropea red onions, Sila caciocavallo cheese, and bergamot— the signature Calabrian orange used in sweets, granitas, savory seasonings, alcoholic beverages, and even aromatherapy.

As Calabria continues to open up to the modern world, there is a renewed emphasis on enshrining its culinary heritage, preserving traditional recipes, and promoting local ingredients to ensure its gastronomic legacy withstands future generations. Steeped in history, geography, and cultural diversity, Calabria’s culinary traditions are a source of immense pride for the locals who savour and share them.

Petrali sweets

'Nduja: traditional spreadable mix of pork meat and chilli

PITTA ‘MPIGLIATA

Raisin, nuts, honey pastry from Calabria

SERVES: 8

PREPARATION TIME: 3 HOURS

COOKING TIME: 45 MINUTES

INGREDIENTS

FOR THE PASTRY

500 gr 00 flour

100 ml Extra virgin olive oil

100 ml Sweet white wine

100 gr Sugar

50 ml Freshly squeezed orange juice

1 pinch Salt

1 tbsp Honey

½ tsp Ground cinnamon

½ tsp Ground cloves

One teaspoon of aniseed liqueur (optional)

One teaspoon of Strega liqueur (optional)

16 gr baking powder

FOR THE FILLING

400 gr of Crushed walnuts

100 gr of Pinenuts or almonds

500 gr of Raisins

½ tsp of Ground cinnamon

½ tsp Ground cloves

1 tsp Strega liqueur (optional)

1 tsp Mandiranetto liqueur (optional)

Zest of 1 orange

50 ml Freshly squeezed orange juice

FOR THE GLAZE

200 gr of Honey

1 tsp of Sugar

Pitte ‘mpigliate are typical Christmas fare from the Sila plateau of the Calabrian Apennines. However, there is no one stopping you from enjoying them year-round. These delicate pastry roses filled with dried fruit are perfect as a tea-time treat.

METHOD

FOR THE FILLING

Soak the raisins in water for 10 minutes. Drain the raisins, discarding the water. Mix all the ingredients for the filling in a bowl and let it rest for four hours.

FOR THE PASTRY

Warm all the wet ingredients for the pastry in a pot or a bowl in the microwave on a low setting. It is very important to just warm the ingredients; they must not boil. Add the dry ingredients to the warm, wet ingredients in a bowl and mix using a fork. Once mixed, empty the dough onto a work surface and knead until smooth and homogenous. You may use a stand mixer with the dough hook attachment.

PREPARING THE ROSES

Line a tart tin with parchment paper and roll enough pastry to form a disc. Using a rolling pin, roll out some of the pastry to form a disc slightly bigger than the tart tin. The disc should be around ½ cm thick. Brush the disc with oil and lightly sprinkle with cinnamon and sugar. Roll out the remaining pastry into six strips seven cm wide and 30 cm

long. You can use a pastry cutter to produce a more decorative finish if you wish. Brush the strips with oil and give them a light sprinkling of sugar and cinnamon. Distribute the filling equally, lengthwise, along the half of each strip and fold the other half over to achieve pockets. The filling should be visible in the finished product. Roll the pockets gently to form roses. Place the roses on the disc in the tart tin and pull the extra pastry up around the roses on the edges to contain them. You can use a piece of previously soaked cooking string to tie the roses together and keep them contained if you wish.

Bake for 1 hour in a preheated static oven at 180° until crispy and golden. Melt the honey in a bowl in the microwave and pour it over the buns to form a glaze. Allow to cool and enjoy.

MOSTACCIOLI CALABRESI

Calabrian honey cookies

SERVES: AROUND 15

MOSTACCIOLI

PREPARATION TIME: 30 MINUTES

COOKING TIME: 40 MINUTES

Mostaccioli are very hard biscuits that last forever and are perfect for dipping into tea or coffee. Every Calabrese nonna has her own recipe passed down over the generations, but essentially, Mostaccioli have very few ingredients: flour, yeast, and plenty of wildflower honey, kneaded together to form a homogeneous dough that is then shaped into many long and flattened strands.

INGREDIENTS

1 kg of 00 flour

800 gr of warm honey

1 egg yolk

16 gr baking powder

½ teaspoon bicarbonate of soda

100 gr dark chocolate chips

150 gr blanched almonds

METHOD

Lightly toast the blanched almonds in a pan and put to one side.

Gently melt the chocolate with a tablespoon of honey in a bowl over a steaming pot or very carefully in the microwave, using low heat in short bursts.

Mix the remaining ingredients well in a bowl or stand mixer to create a soft dough.

Roll out the dough using a rolling pin to create oval strips 30cm long, 1cm thick, and about 6cm wide.

Using the back of a spoon spread the melted chocolate and honey mixture in a strip along the middle of each dough oval.

Distribute toasted almonds along the the chocolate line in even intervals. Gently fold the oval disks to close and smooth out the tops by performing gentle back-and-forth rolling movements with the flats of your hand and applying only the gentlest pressure so the almonds don’t push through.

Optionally you decorate the biscuit with rolled-out strings of remaining dough.

Place on parchment paper on an oven tray.

Bake in a static preheated oven at 170° for 20 minutes.

While still hot, brush with melted honey.

Allow to cool. When ready to enjoy, slice the biscuits with a heavy knife and share.

A Tavola

IN HISTORY

AN INTERVIEW WITH FRANCO ROSSI

by Stefano Riela | Images provided by Eroica “PEDALING”

They pedal along gravel tracks and up Tuscany’s steep hills not in the hope of winning a gold medal but simply for the joy—and exhaustion—of pedaling alongside others who share a passion for cycling. Segmento interviewed the event’s President, Franco Rossi, to find out why Eroica was born and how it turned into a global phenomenon.

Eroica was born as a vintage cycling event almost 30 years ago in the heart of Tuscany. Could you tell us what made Eroica possible?

Eroica was the brainchild of Giancarlo Brocci, who, in an article for a local magazine, proposed Chianti as the area for the creation of a bike park. After that, local institutions created the registry of strade bianche (unpaved gravel roads), and having them heritage-listed made Tuscany the envy of the world. Over time, the enormous value of that

idea was understood: until then, Chianti was known throughout the world for its wine, but from that moment, the Chianti region turned into a place to visit all year round. In our case, riding bicycles is part of the value of heroic sports that bring generations together.

The words that best describe the Eroica experience are history, health, and sustainability. Let’s start with history. At the Eroica, people can only ride on old bicycles, and a date indicates how old they must be.

We chose 1987 because, in that year, the bicycle experienced a significant development: the first pedals with automatic attachment, and manufacturers began to have the brake wires in the handlebars. The bikes you are allowed to ride at Eroica are the steel-frame ones with shift levers on the down tube and brake cables that must pass outside and over the handlebars. Pedals should be with toe clips and straps; quick-release or clipless pedals are not allowed. The Eroica made it possible to recover thousands of bicycles destined for landfill: the enormous heritage value was linked, above all, to the skills of the builders, many of whom were mainly Italian—Atala, Bianchi, Colnago, Legnano, Olmo, Pinarello. Even clothing must be of classic inspiration, such as wool jerseys and bib shorts or acrylic or other materials that were used up until the late 1980s.

On the health front, those who follow the original Eroica route know that they need to train hard for months prior. However, the Eroica is accessible to all.

We guarantee that the event is enormously satisfying even for those who attempt the shortest route. Even in that case, everyone can experience, as Eroica’s motto goes, “the beauty of fatigue and the thrill of conquest.” However, do not forget the true Eroica experience is the one with vintage bicycles, so no electric bicycles, modern bicycles or mountain bikes. Those who come to Eroica know that they must find an old bicycle and recover its history and original beauty. They also have to think about bringing a nice wool sweater. We, the organisers, bring in the magnificent Tuscan landscape and local food, accompanied by a glass of good Chianti or Brunello.

Cycling is synonymous with sustainability. Do you do anything more?

We do everything necessary to ensure sustainability. For example, we are committed to separating waste at our events, and, recently, thanks to the contribution of many volunteers, we have tried to clean the edges of the roads that are crossed during our events. We have recently also joined the Union Cycliste Internationale (UCI) to engage in the challenge of cutting carbon emissions by reducing our sport’s impact on the environment and promoting the

benefits of more cycle use for sustainable development. Furthermore, Eroica has invested in the model of “reuse”: the bicycles are vintage, the jerseys belonged to dads or grandparents, and the strade bianche have been there for centuries.

You started from Gaiole in Chianti, 20 km from Siena, and today, you organize events all over the world. Can you tell us how that started?

The first Eroica abroad was in Japan, which celebrates its tenth edition this year. Two Japanese professors from the University of Perugia came to Gaiole in Chianti for Eroica and asked us to organize it with them. The following year, we received a request to organize an Eroica in the UK from an Italian-English man with a strong

passion for cycling. From then on, the phenomenon became unstoppable, and today, Eroica is in Spain, California, and South Africa. This year, Eroica was in Cuba for the first time.

How successful is Eroica?

The original idea was extremely successful. From the original event in Gaiole, Eroica has grown into a global movement, a network of events attracting tens of thousands of cyclists and fans of all ages around the world. These vintage bicycle events are now widespread. The many values of cycling from the past are being recovered. Eroica is not a trend but a real lifestyle that knows no geographical or demographic boundaries.

THE SILK ROAD TO BEAUTY THE FOUNDER OF SERESILK TELLS HIS

STORY

by Angela Viora

Seresilk is the only Australian cruelty-free silk-based skincare product in the world. The four-step night routine range uses only 24 ingredients and harnesses silk’s natural healing properties. Segmento talks to the founder of Seresilk, Taylor Battistella, a young ItaloAustralian who laid the foundation of his business when he was only 12.

Taylor Battistella, Founder and CEO of Seresilk

Taylor Battistella was in Year Six when a school video about silkworms inspired his interest, prompting him to buy 100 eggs. His silkworms multiplied prolifically, and before long he had around 25,000 eggs on his hands. Seizing the opportunity, the future tycoon went online to start

his first business. Initially selling them on eBay, he then launched his website, Everything Silkworms, evolving from retail to an education-focused business supplying schools across Australia. Using his parents’ home as his headquarters, Taylor took care of every aspect of the business, from packing and shipping to marketing and growing supplier relationships.

Taylor credits his entrepreneurial spirit to his Italian father, who, as a young immigrant to Australia, could not afford prosciutto, so he decided to produce it himself. “Start now” is the fundamental business tip that Taylor shares with us. “I did not have the pressure of paying rent and bills when I was 12, so, by the time I was 25, I had savings which I could put into my business and build an existing client base.”

In addition to his heritage, Italy played a significant role in the development of Seresilk. In 2017, he pursued a dualdegree program at Monash Business School, focusing on accounting and marketing. Concurrently, to honour his Italian roots, he pursued a diploma in Italian and participated in an exchange program at Università Bocconi in Milan. Taylor’s time in Milan provided him with an unexpected opportunity for business growth. While there, he encountered a woman interested in purchasing his silk for skin care. Silk’s therapeutic properties, known for millennia, stem from its 18 amino acids, which closely resemble those

found in human skin, aiding in wrinkle reduction. Women working in Chinese silk farms are renowned for having incredibly soft hands due to the amino acids rubbing onto their hands as they handle the silk.

Taylor’s silk is highly sought-after due to the transparency of its supply chain and Australia’s ability to cultivate the highest quality silk thanks to its pristine environment. He emphasizes the importance of a healthy ecosystem, which promotes the well-being of mulberry trees—the primary food source for silkworms—resulting in healthier silkworms and superior silk production. Taylor ensures the natural life cycle of his silkworms, selling their eggs through his education business and repurposing silk waste into skincare products through hydrolysis. Seresilk’s exfoliators are crafted from clean cocoons, providing a natural and effective skincare solution.

Taylor delved into research, driven by his curiosity and his lifelong battle with acne. Despite lacking access to specialized facilities, he persisted, ultimately partnering with a lab chemist to develop hydrolyzed silk formulations. After extensive testing and refinement over 36 months, Seresilk was born. Taylor’s entrepreneurial journey, however, faced challenges, particularly in packaging design, where he meticulously oversaw every detail. Notably, Seresilk’s commitment to sustainability is reflected in its use of recycled bottles sourced from China.

Merging centuries-old silk traditions with a modern approach, “Seresilk comes from combining my knowledge of silk with spotting an opportunity in the market to create demand for my supply, and hopefully generate the birth of an Australian silk industry,” Taylor explains. Silk’s inherent benefits, such as collagen stimulation and formulation stability, simplify skincare routines without sacrificing effectiveness. Seresilk’s product range—comprising cleanser, night serum, night cream, and exfoliator—features straightforward formulations with only 24 ingredients and no fragrances, in contrast to the up to 515 ingredients used daily by the average woman on her body. Tested on Taylor’s severe acne yet suitable for all skin types, Seresilk prioritizes night-time skincare to optimize skin regeneration and repair, enhanced by the inclusion of vitamin A, which is absent from day cream as it increases photosensitivity.

Seresilk Product Range, Taylor handling silk cocoon's as a pure silk exfoliator product

Seresilk focuses on refining skin texture, minimizing pores, reducing wrinkles, and nourishing and protecting the skin barrier for a radiant complexion.

During his time in Italy, Taylor resided with his cousins in Veneto, where he delved deeper into silk production. Veneto boasts a rich silk tradition dating back to the 12th century following Marco Polo’s Silk Road travels. While Italy is now known more for silk processing, efforts to revive traditional production methods are underway. Taylor visited silk-production facilities at CREA, the Council of Research in Agriculture and Analysis of Agricultural Economics, based in Padua, finding the experience invaluable for Seresilk’s development. Seresilk’s cocoon exfoliators use Veneto silk, ensuring transparency and quality.

Taylor shares with a chuckle that the brand name Seresilk originated in Italy as well, blending Ancient Greek and modern elements to evoke the essence of silk: “I was talking about my business to this guy, Fasma, who’s a rapper, so he’s good with words and told me that the word sêres

(Σῆρες), from Ancient Greek, means “land of silk,” referring to China. I liked that, and I incorporated the word silk into it, envisioning the intertwining S’s forming a strand of silk, which then became the brand’s logo.”

SERESILK COLLABORATES

WITH three charities, and online purchases allow buyers to vote on donation recipients.

Products are primarily available on https://seresilk.com.au/ with some available in selected stores across Australia.

Taylor showcases his products at events like The MindBodySpirit Festival in Melbourne and shares his journey in various media outlets nationwide. Recognized for his talent, Taylor serves as an ambassador for the Financial Times Talent Program, uniting the most promising emerging business leaders globally for intensive three-day competitions, where he was the inaugural Australian finalist in 2020.

Looking ahead, Taylor envisions expanding beyond silk sales and exploring innovative uses for silkworms, such as inear implants, knee reconstructions, and sustainable fashion. He aims to utilize the entire silk lifecycle, minimizing waste by converting moth remains into bio-gas and fish food. With a blend of passion, perseverance, and a nod to his Italian roots, Taylor Battistella’s journey with Seresilk combines tradition and innovation, leading the way to a future where beauty and sustainability intertwine on the Silk Road to success.

UNLOCKING THE POTENTIAL OF TROPEA

A CITY WHERE TOURISM AND INVESTMENTS GROW HAND IN HAND

by Giovanni Macrì | Images provided by City of Tropea

Tropea, the jewel of Calabria’s rugged coastline and a long-time favorite of discerning tourists, is becoming increasingly attractive to savvy investors. Mayor Giovanni Macrì tells Segmento about the unique advantages and opportunities that make it an ideal destination for investment and growth.

Tropea’s allure lies not only in its stunning natural beauty but also in its rich cultural heritage. Perched atop dramatic cliffs overlooking the azure waters of the Tyrrhenian Sea, Tropea boasts a history dating back centuries, evident in its medieval architecture,

quaint cobblestone streets, and ancient landmarks. The city’s charming historic center, with its labyrinthine alleys and historic churches, creates a timeless ambiance that captivates visitors and residents alike. This cultural richness not only enhances the quality of life in Tropea but also serves as a draw for tourists, contributing to the city’s economic vitality. Beyond its aesthetic appeal, Tropea offers investors a strategic location as a hub for trade, commerce, and tourism.

Situated between the major cities of Lamezia Terme and Reggio Calabria, Tropea is a gateway to the southern Italian coastline. Its proximity to key transportation networks, including highways, railways, and ports, ensures seamless connectivity to major markets and business centers, making it ideal for businesses looking to expand their reach. This strategic advantage facilitates the flow of goods and services and is conducive to investment and growth.

Tropea boasts a diversified economy that presents opportunities across multiple sectors, ranging from tourism and agriculture to food manufacturing and services. The city’s vibrant tourism industry, fueled by its pristine beaches, historic landmarks, and cultural attractions, generates a steady stream of revenue and employment opportunities for businesses in the hospitality, retail, and entertainment sectors. Additionally, Tropea’s fertility and favorable climate support a thriving

The Mayor of Tropea Giovanni Macrì with the Italo-Canadian chef Luciano Schipano at the Heritage Calabria ceremony

agricultural sector, producing a variety of high-quality crops, including olives, citrus fruits, and the highly sought-after Tropea red onion. This economic diversification not only mitigates risk but also creates a resilient foundation for sustainable growth and development.

Investors in Tropea can also benefit from a range of incentives and support programs offered by the local government and the Calabria Region. These initiatives are designed to encourage economic growth and development by promoting entrepreneurship, innovation, and job creation. Financial assistance, tax incentives, and streamlined regulatory

processes are among the incentives available to businesses looking to establish a presence in the city. Furthermore, Tropea’s designation as a Special Economic Zone provides additional benefits for investors, including reduced tariffs, customs duties, and administrative barriers. These incentives not only reduce the cost of doing business but also signal the government’s commitment to fostering a business-friendly environment.

In addition to its economic advantages, Tropea offers investors an unparalleled quality of life that enhances the city’s appeal as a destination for investment. The idyllic setting, relaxed pace, and rich

Aereal view of Tropea and its coast-line

cultural heritage create a desirable living environment that attracts new residents and visitors alike. Access to world-class healthcare, education, and recreational amenities ensures that residents enjoy a high standard of living, while the warm climate and vibrant community spirit foster a sense of well-being and fulfillment. This

quality of life not only enriches the lives of residents but also contributes to the city's overall attractiveness and competitiveness as an investment destination.

Tropea represents a compelling opportunity for investors looking to invest in a thriving and picturesque city with significant economic potential. Its rich cultural heritage, strategic location, diversified economy, investment incentives, and high quality of life make it an ideal destination for investment and growth. By harnessing the city’s unique attributes and entrepreneurial spirit, investors can capitalize on the myriad opportunities that Tropea has to offer while contributing to its continued development and prosperity.

The Mayor Giovanni Macri with Francesco Sorbara, Federal Member of the Canadian House of Commons

LA VITA ECO-BELLA ITALY EMBRACES SUSTAINABLE FASHION

by Natasha Richards | Photography by An La | Fashion Designer Lucy Laurita

The intersection of style and sustainability has become a hallmark of Italian fashion. Renowned for its fashion-forward mindset, Italy is revolutionizing the fashion industry by integrating style with eco-conscious living.

Italian designer brands and fashion houses are driving efforts to shift the industry away from environmentally damaging materials and disposable “fast fashion.” Prominent Italian brands, including Prada, Valentino, and Salvatore Ferragamo, are taking the lead for

sustainability in the fashion industry by incorporating recycled materials into their collections.

Prada has started to use recycled nylon made in Trentino from discarded fishing nets. Valentino launched a trainer range made from all recycled materials. Salvatore Ferragamo, in a creative twist, has created a range of clothing made from fabric produced from the peel of citrus fruit supplied by Sicilian startup Orange Fiber.

Leading Italian designer brands are incorporating innovative recycled materials into their collections, and an industry-wide shift towards eco-conscious production is in full swing.

Milan, the fashion capital of Italy, is setting the tone for sustainable fashion going into 2024. La Scala Theatre in Milan hosted the first-ever Green Carpet Fashion Awards, in which Prada and Miu Miu showcased collections produced from recycled materials.

At this year’s Milan Fashion Week, faux fur dominated the runways, with Prada, Diesel, Emporio Armani, and Marni all making creative use of synthetic fur. Milan is proving that cruelty-free fashion can be both luxurious and chic, reflecting a broader shift towards sustainability in the fashion industry.

Vintage fashion is more popular than ever, and Italian brands have been at the forefront of this vintage resurgence. Iconic labels like Valentino and Prada are not only embracing the resurgence of vintage

Gold Lotus mini dress made of remnant fabric pieces, Lurex Dupion Silk handmade leaves

but also setting the stage for its increasing prominence in the industry. Nineties fashions have made a comeback. Anne Hathaway wore a vintage Valentino ivory gown from the fall/winter 1993 collection on the red carpet at the British Fashion Awards last year. Kylie Jenner was spotted in Milan wearing a champagne-colored piece from Prada’s spring/summer 1992 collection.

Vintage is decidedly in and is not going anywhere soon. Fashion experts predict that trendsetters will dig deeper into the archives with classic pieces from the 1950s through to the 1980s set to make an appearance on the red carpets calendar of 2024’s most glamorous events. This year’s Met Gala Theme, “Sleeping Beauties: Reawakening Fashion,” is set to bring an array of archival looks to the red carpet.

This newfound trend of vintage clothing is about more than just rediscovering classic styles. It is representative of a collective shift to environmentalism and social consciousness in the world of fashion.

Gen Z and Millennials have largely driven this shift to environmental and social concerns as a consumer priority. A survey by Statista revealed that 79% of Italian Millennials prefer brands that base their business on fairness, transparency, and honesty. Another survey revealed that over 50% of Italians agree that responsible use of materials is very important.

The global resale market is growing year on year and is expected to surpass

Undercover

Floral Bouquet mini dress made of remnant fabric pieces, Dupion Silk & Sequin handmade flowers

$100 billion in 2024. This emphasis on recycling vintage looks in 2024 is only the beginning, not just in Italy but all over the world.

Archival pieces do not only respond to environmental concerns; they point to another fashion trend, the desire for singularity. In a time of fast fashion and algorithmic style, having a one-off vintage piece can serve as a status symbol.

Opting for vintage pieces is a means of expressing one’s style while also aligning with environmental values. The allure

lies in both the aesthetic appeal and its contribution to reducing fashion’s ecological footprint.

As we witness a shift towards conscious consumerism, Italian brands are playing a pivotal role in shaping the narrative by using recycled materials in their production and reimagining pieces from past eras.

Italy’s embrace of sustainability in fashion epitomizes the concept of “La Vita EcoBella,” a lifestyle that seamlessly integrates luxury with eco-conscious living.

Lucy Laurita

continues to champion sustainability in the fashion industry. Among her notable endeavors are sculptured floral designs meticulously crafted from fabric leftovers, transforming them into pieces that transport wearers to an opulent floral realm. While these creations are not new to the Lucy Laurita collection, they have remained hidden from view until now. Each piece is a signature creation, as they are individually handcrafted ensuring that no two are alike. The concept was born years ago when an abundance of exquisite fabric offcuts, in Laurita’s eyes, deserved far more than to go into landfill. With mindful creativity, every scrap of fabric is a precious resource waiting to be transformed into something extraordinary.

Click here to visit Lucy Laurita website

Photographer An La

Model Eryn Saunders

IN EACH ISSUE, WE INTRODUCE ONE OF OUR TEAM MEMBERS

FEATURING EDOARDO VIGE

Edoardo Segmento Media Team

Ciao a tutti, I was born in the Netherlands and grew up in Italy, but I like to call myself a citizen of the world. Growing up with parents of different nationalities, I became accustomed to frequent travel around Europe. Traveling and spending time abroad soon turned into a passion, so much so that opting for a foreign language study course at the University of Turin was a natural choice for me.

Later, I started journeying around the world and residing in different countries: I've lived for two years in the UK, two years in Vietnam, and three years in Australia. In Melbourne, I started to work with Segmento, initially writing content for the Tourism & Places section and now co-managing the magazine’s social media presence. The necessity of tracking many trips and adventures led me to create my travel website in 2016. Together with my partner in life and travels, we are always dreaming about the next destination.

Being able to work this and other jobs remotely allows me to keep on traveling and spending the best part of the year abroad, wherever it's nice and warm. The only exception to this is spending Christmas with my family in Italy. You can't say no to the feste natalizie at home, and that's definitely the best part of being unapologetically Italian!

Unapologetics

A un passo dal cuore

Scoperta

Daniela Santelli hails from Rende in the province of Cosenza. Although she published her first novel in 2018, she began writing as a child, fuelled by a love of storytelling. A un passo dal cuore narrates the romantic journey of Giulia when she falls in love with a man who is already spoken for.

We recommend it because …

It is a tale crafted from genuine and heartfelt emotions. In the realm of love, we've all experienced moments akin to Giulia's at least once. But in Santelli’s hands, love underscores the importance of never settling to be someone's second choice.

Angelina Mango, the daughter of renowned singer-songwriter Pino Mango and actress Laura Valente, rose to fame as the vocalist of Matia Bazar. She grew up in Lagonegro in the province of Potenza. At the Sanremo Music Festival 2024, she clinched victory with her performance of “La Noia”.

We recommend it because …

Angelina fills the void of boredom with an unforgettable song that showcases her knack for crafting vibrant, modern pop melodies. She cleverly employs a contemporary approach to composition and production, diverging from the conventions of song-writing from previous eras.

This documentary film, created by Zenit Arti Audiovisive in collaboration with Skofteland Film, explores the repercussions of the relentless growth of the human population. Through industrialization, food production, and resource exploitation, humanity's pace is wreaking havoc on the delicate balance of the Earth's ecosystem. We recommend it because …

This documentary is based on one of the most controversial environmental bestsellers of all time, The Limits of Growth. It explores the book’s enduring relevance in today's world. Has humanity reached the point of no return? Or is there still time for one last call?

La Noia by Angelina Mango

Ultima Chiamata by Enrico Cerasuolo

by Daniela Santelli

Massimo Massimo Ranieri Ranieri DIRECT FROM ITALY

THURSDAY 18 APRIL

THE PALMS AT CROWN VIC

FRIDAY 19 APRIL

THE PALAIS THEATRE, VIC

SUNDAY 21ST APRIL

SYDNEY OPERA HOUSE, NSW PRESENTS