Page 1





by FUA Blending Team

Photos by Tia Page & Chiara Spagli

On Saturday, March 16th 2019, the “Caterina de’ Medici: 500 Years of Hospitality” conference took place at the Apicius International School of Hospitality.


The conference itself was inspired by the 500th

of Florence, Cristina Giachi, and journalist Daniela

anniversary of Caterina’s birth, and was particularly


significant as it was the first conference hosted in

from Caterina and the Medici family, the world of

FUA’s new hospitality building located in via Ricasoli

hospitality, and a tasting session with the Apicius

21. The conference featured diverse panels of

Culinary Arts & Baking and Pastry students.

speakers from numerous academic and professional

A particular highlight of the day was a blind tasting of

backgrounds, who offered their expertise and insight

12 wines, which was curated and guided by students

on the field of hospitality and its future. Among these

of the advanced course of Viticulture and Enology:

speakers were the Vice-Mayor of the Municipality

An Educational Wine Tour II. The students were able






to recognize the black Pinot, and easily identified a classic spumante. The audience adored the qualities of the Chardonnay from Alto Adige, which was fermented and aged in oak barrels. The theme of the conference, Caterina de’ Medici, extends itself to the upcoming issue of Blending magazine, submissions for which are open until Monday, March 25th. As well as the theme of Caterina de’ Medici herself, Blending will also accept submissions that apply to the broader concept of “identity,” as this was a motif that can be seen throughout Caterina’s life. For more information on submitting writing and photography for Blending magazine, write to




by Reese Bentzinger Photo by the author

In one of the first rooms of Palazzo Pitti’s temporary

behind glass, reminding viewers of how fashion can cruelly

Animalia Fashion exhibit, there is a small sign stating

collide with the natural world. From hunting animals for

that none of the clothes on display involve harming

prized fur, to environmentally harmful factories, nature

animals. The sign does add, however, that the issue of

and fashion can be a dangerous combination.

animal testing is still important to consider.

The clothes are a reflection of how nature both fascinates

The exhibit, which showcases nature’s influence on

and terrifies, providing many sources for inspiration.

haute couture, begins in a long hallway of narrow rooms.

A white, bridal-style gown has graceful curves that

The couture pieces were removed from admiring viewers

perfectly reflect the moonlight that inspired it. The

by velvet rope and a raised platform, transporting the

prickly nature of the pufferfish is seen in a boldly spiked

viewer to the runway stages on which they made their

jacket. No matter from which direction the inspiration


came, it is clear that nature has influenced on these

The influence of fauna on some of the clothing was

fashion pieces.

obvious. For example, a golden snake, placed on the

The relationship between nature and fashion is a mutual

back of a navy gown, is clearly inspired by the animal

one, but this coupling doesn’t always result in something

kingdom. With others, it taook a little bit of searching

to be admired. The exhibit showcases hypocrisy in the

to realize how the piece reflects nature. This is the case

fashion industry. Influence is taken from the beauty

with another snake-inspired piece, a vest with twisting

of nature, yet fashion can also play an active part in

tubes that reflect the animal’s movements, and not

nature’s destruction. The message of the gallery is the

necessarily the animal itself.

same as that of the sign at the entrance: it is important

Though the exhibit may appear to purely praise fashion,

to reflect on how the fashion industry takes from the

in its execution it is both a celebration and a criticism.

natural world in more ways than one.

Many of the rooms also display stuffed birds and insects

Animalia Fashion will be at Palazzo Pitti until May 5, 2019.

JUDITH AND PERSEUS by Reese Bentzinger Photos by the author

In front of the Palazzo Vecchio, two statues appear to be eyeing one another: Cellini’s Perseus with the Head of Medusa and a replica of Donatello’s Judith and Holofernes. While they are similar in some ways, both portraying heroes triumphantly standing over their enemies, their Medici-tied history reveals significantly different meanings. The story begins in the 1440s, when Florence was a citizen-led Republic. However, some citizens had more power than others, and the most powerful of all was a banker named Cosimo de’Medici. Although he was technically a normal citizen, it was widely understood that he was the most influential man in Florence. Cosimo carefully groomed his image, preferring to be a

Il Perseo, Benvenuto Cellini, Loggia dei Lanzi

‘first among equals’ rather than be seen as a dictator. He used his wealth to protect the Republic of Florence from

as it transformed into a duchy directly controlled by the

potential tyrants rather than attempt to become one

Medici. Over the course of a century, the Medici had


strengthened their power, slotting their family members

This image that Cosimo built for himself is clear in many

into the papacy and prominent marriages. In 1569, Pope

of the artworks he commissioned, including Judith and

Clement rewarded his Medici relatives for their longtime

Holofernes. The statue portrays Judith, a biblical heroine

support of the Church by granting them the dukedom of

who defended the Jewish people, decapitating the


seemingly undefeatable general, Holofernes. Donatello's

The Medici were now officially the rulers of Florence, not

work casts the Medici as Judith, portraying them as

just mere leading citizens. Another Cosimo de Medici,

heroes fighting to protect the Republic from powerful

now a duke, commissioned art to advertise his new

enemies, such as France.

status. He hired Benvenuto Cellini to create an art piece

Florence wouldn’t remain a Republic for long, however,

that symbolized his power. The result was Perseus with the Head of Medusa, a bronze sculpture that portrays the Medici as Perseus with the beheaded Medusa as the Republic, which crumbled due to internal conflict. Cellini’s work wasn’t just a work of triumph for the Medici: it also served to elevate Cellini above all the other artists whose works stood in front of the Palazzo Vecchio. Perseus is a single piece of bronze created from one mold, something that was notoriously difficult to do. By using an extremely difficult process to complete his work, Cellini portrays himself as a victor over his rival artists. This includes Judith and Holofernes, which was cast from 11 pieces of bronze. The effect of the Medici family can still be felt throughout Florence today. The family’s rule may have disappeared,

Copia della Giuditta e Oloferne, Donatello, Piazza della Signoria


but the artworks that they commissioned will last forever.


ART AND PLACES: SIENA AND VENICE Although an art gallery is usually the best location to appreciate art in its various forms, Italy hosts a number of other places where art can be curated, exhibited, and appreciated. Students of the Gallery Exhibition course reflect on the artistic impact of two mediums in which art and creativity are exhibited, the Cathedral of Siena, and the carnival of Venice.


by Abrianna Macon Photos by the author

Siena is known for many things, but the most lavish aspect of Siena is its Cathedral. Not only is the cathedral stunning from the outside, but it is also breathtaking on the inside. In one magical room off to the side, the Piccolomini Library amazes many visitors. The library is considered to display the most decorative frescoes of the turn of the 16th century. The Piccolomini Library was painted by the Perugian painter Pinturicchio, also known as Bernardino di Betto. He painted the library in 1502 for his patron, the cardinal of Siena, who wished to honour his uncle Pope Pius II, who died in 1464. The frescoes of Pinturicchio contain a curious range of naturalistic features that were developed in the provinces and matured in Rome, to then end up in Siena, where Pinturicchio found himself somewhat influenced by a local artist, Domenico di Bartolo. Even so, Pinturicchio continued to paint in a way that was foreign to Siena. Pope Enea Silvio Piccolomini was one of the greatest humanist scholars, and the library in Siena was built to house his collection of illuminated manuscripts. The frescoes in the large lunettes that line the walls of the library tell the story of the Pope's life, although it depicts a mythologized and glorified version. The surrounding

decorative elements and ceilings are in the "grotesque" style, one which imitates ancient Roman examples that were very popular with artists and humanists at the time. The fresco starts at the far end on the right wall, depicting a young boy who grows older and gains rank in the ministry as one follows the paintings. Frederick Hartt describes the library: “The frescoes fill ten lofty compartments that reach from the reading desks to the arches of the vault. The compartments are separated by painted pilasters and are framed by illusionistic arches whose jambs and soffits are decorated with marble incrustation (painted, of course); the pilasters have a continuous decoration in grotteschi. Each compartment allows us to look out, as if through the arch of a gigantic loggia, into a scene from Aeneas Silvius' life, painted in clear and brilliant colors.� With its revolutionary gothic style and its amazing height, the Cathedral of Siena is something to see, but do not forget to visit the real show which is the Piccolomini Library.



by Hannah Todd Photo by the author

The carnival of Venice offers a unique opportunity to step back in

Today, the month-long Carnival consists of celebratory

time to the Masquerade Era. The streets are filled with individuals

events such as street performances, mask and costume

hiding behind elaborate masks, dresses, cloaks, royal attire, and

contests, weekend parades, formal ceremonies, dinner

everything in between. A phenomenon that has continued for many

events, and more. It is an attraction that will truly allow

centuries, Venice’s carnival is a celebration of culture and history.

you to lose yourself in time as you appreciate the lively

It is an event that not only unites citizens of Venice, but attracts

and eye-catching ornaments. Although music and chaos

over three million people during the months of February and

fill the crowded streets, the most important and precious

March. The carnival pays tribute to the original victory of the Republic of Venice against the Patriarch of Aquileia in 1162. To honor this victory, the city of Venice gathered in San Marco Square. The carnival became very popular during the 1800s and has continued to the present day. San Marco Square acts as the city’s center, where the beautiful Basilica of San Marco stands. Surrounding the basilica is the Palazzo Ducale, which is an ornate castle displaying Venice’s historical paintings and interior décor.


contribution to the carnival are the extravagant masks. These masks are hand-painted,

and custom-made for

individuals. Some are delicately painted with soft colors while others are dark and daunting. Some masks have feathers extending from the eyes while others have stunning jewels hanging below. Each mask is unique, making the carnival of Venice an experience like no other.


HIDDEN SURPRISES IN GUBBIO During their Educational Field Learning to Gubbio and Fabriano, students of the Travel Writing course explored the two beautiful towns, located in Umbria and Le Marche respectively. These students have gathered their reflections on Gubbio in particular, and its impact as a small yet breathtaking town with a rich history, one which can be seen in its art and architecture.


by Hailey Koebrick Photo by the author

On a hill in the small, medieval city of Gubbio sits a gothic cathedral. The outside is plain, nothing show-stopping or breathtaking; but upon entrance, a collective gasp escapes the lips of the curious travelers who know that looks can be deceiving. The trussed ceilings draw the eye immediately, their pointed tops like hands in prayer. At the altar, a crucifix dangles precariously from the ceiling as if held up only by the will of God. The backlit stained-glass windows pour a spectrum of multicolored light onto the wooden floors, splashing upon the visitors drawn to their vibrancy. For a simple cathedral, it contains history and beauty that one might not expect. The church is known as the Cathedral of Saint Mariano and Saint Giacomo as well as the Duomo of Gubbio, and was built at the end of the 12th century. As with most Italian cities, religion ruled the lives of its inhabitants, but surprisingly, the cathedral is not the most religious thing for which Gubbio is known. Bishop Ubaldo, who later became the patron saint of the city, is the pride and joy of the religious community in

Ubaldo where his whole mummified body lays on display, minus one finger that can be found in Thann, Haut-Rhin, France. Every May a celebration is held in his honor, La Festa dei Ceri, including a “candle race” with wooden statues of saints that are hoisted up and carried through the winding, sloping streets of Gubbio.

Gubbio. His relics are housed in the Basilica of Saint


by Riley Jenson Photos by the author

The medieval city is situated on the lowest slope of Mount

“green sea”. It’s not very busy here. The streets bend and

Ingino. The stairs, wide and steep, lead up to the Palazzo

the cars slowly descend down the mountainside. The next

dei Consoli. The faint smell of chimney smoke swirls in the

set of steps lead to the Palazzo Ducale, home to Federico

wind. The square overlooks all that is below; the so called

da Montefeltro, and the Duomo of Saint Mariano and Saint Giacomo. The two buildings stand tall, neither more powerful than the other. The air inside the Duomo feels thick and smells of incense. The ceiling is lined with curved arches that frame the timeless artworks of Sinibaldo Ibi, Giuliano Presutti, and Dono Doni. The cold air carries a sense of serenity. The silence that fills the Duomo is broken by the indistinct whispers of all who overtake the space. The light is dim, but sun shines in from the rose window and onto the cream-colored altar that faces the pews. A circular dome surrounds the altar: its ceiling, dark blue with gold specks, looks like a midnight sky. The crucifix resides here, hanging from the ceiling of stars.



Witnessing a “Tuscan Sunrise” feels almost like something out of a cheesy novella. The landscapes embrace recurring themes. Like a tale, it has protagonists: the towns, the remote villas, the fog, the flora. The village built into the valley lays dormant under a soft quilt made of cool morning clouds, the modeled smoke fumes slowly out of the brick chimneys, the silhouettes of distant castles perched atop dark green hills are flanked by naked trees. All these graces become far more stimulating when observed individually; they become intrinsic abstractions, with their own fictions and identities. Entering the region of Le Marche is almost like a plot-twist, a sudden transformation in the panoramic episode. A vast lake interferes persistently and the architecture becomes more somber. Greens gradually morph into charcoal greys and hues

FROZEN IN TIME Spotting the grey buildings carved into the base of a mountain, Gubbio looks like a town frozen in time. Even from a distance, it is easy to tell that it holds a long history. Gubbio sits in the center of Italy and is the oldest town in the region of Umbria. It is best known for its medieval architecture and iconic stonework. Once called “Iguviam,” this small town has endured conflict after conflict in trying to establish itself as an independent community capable of protecting and asserting its strength and importance. From Lombard occupation in the 8th century to the bishop’s rule in the 11th century, Gubbio finally found freedom in 1262, marking an era of prosperity. High up on the hill, the Palazzo dei Consoli towers over the town. A minimalist courtyard stands beside, allowing visitors to stare up at turrets and arched windows. The brick wall enclosing the courtyard reflects the building’s stoical appearance as rows of pointed metal pieces line the top, warning intruders to stay away. The palazzo stands out with its white exterior which opposes the surrounding architecture, and opens up to a panoramic, mountainous view. What it lacks in symmetry and intricate grandeur, it makes up for in being one of the most important linguistic remains from the 2nd and 8

by Sophie Lascaris Photo by the author

of blue begin to reflect on every surface. A interlude to the story occurs when I fall victim to a nap between Fabriano and the Umbrian town of Gubbio. A medieval dream is born before my eyes. My gaze is forced upwards, the composition sound, in a triangular form - the apex blatant, outlined by the campanile of the Basilica di Sant’Ubaldo. A new character enters the scene: Stone. The rustic ambience of this Dark Age site gives the town a certain appealing eeriness. However, I feel reluctant to climb up the steep pathway. The breathtaking hike makes me feel my pulse in every corner of my body. We finally reach Piazza Grande, and I immediately fall to the cold, terracotta ground, but I am not permitted a moment of silence. Clouds now dance, spirited, in front of my eyes, so close to me, while the ones above are in no rush at all and stroll by with ease. Soft jazz emanating from the bar a few meters away and the sound of people talking softly graze my auditory perception. The final chapter of the story comes to be a soundless one. I creep into the Duomo alone, the door creaks closed behind me. With the sound of the wooden door tapping the frame of the entrance, a void is born. The strangeness of this enormous structure containing so much silence ceases even the minutest motion in me. I feel like my heartbeat is too loud, I can hear the flames from the candles burning in the mild air. It’s so silent, I feel deaf. I sit down and close my eyes, and nothingness leads me into a moment of peace. by Lea Allbaugh Photo by the author

3rd century BC. The Eugubine tablets, also called the “Gubbio Tables,” are bronze tablets recording the rituals and culture of the region. They are written in alphabetic letters in the original language of Umbria. With artifacts that date back so far and contain such rich historical contents, it is no wonder that the abundance of locality washes over visitors in an instant.



The Italian Advanced I students learn about Florentine sayings and the interesting stories and legends that inspired their creation.


by Brianna Soccio Photo by Wikipedia

In tutta Italia, si sente dire “Troppa Grazia, Sant’Antonio!” Questa frase è usata quando qualcuno ottiene più di quello che ha chiesto, con risultati non del tutto positivi. Anche se il modo di dire non è esclusivamente fiorentino e ci sono molte spiegazioni per questa frase, Firenze ha una sua storia collegata a questo detto. Il Sant’Antonio menzionato nella versione fiorentina è Antonio Pirozzi, vescovo di Firenze durante metà del dodicesimo secolo. Era conosciuto come “Antonino” ed era uno dei vescovi più amati dai fiorentini. Viveva in un edificio in Via dello Studio, dove si può ancora trovare una statua di marmo in suo onore. Quì i cittadini di Firenze lo visitavano per chiedergli aiuto. La gente lo amava per i suoi consigli e l’aiuto che fornì durante la pestilenza e il terremoto del 1448 e del 1453. Lui era così popolare che era stato ribattezzato “Antonino dei consigli”. Un incidente particolare ha presumibilmente portato alla creazione di questo detto. Dante Pitti e sua moglie Marietta avevano cercato di avere figli per un po’ di tempo e si rivolsero al vescovo per chiedere aiuto. Sant’Antonio li benedisse, e poco dopo Marietta rimase incinta! Tuttavia, la grazia di Antonio non si è fermata qui, infatti in pochi anni Dante e Marietta Pitti hanno avuto ben sei figli! website:


Scioccato da questo fatto, il popolo fiorentino ha coniato questa famosa frase che è usata ancora oggi .

by Carmen Turner Photo by Wikipedia

A Firenze ci sono molti dialetti e modi di dire unici ai fiorentini. Ci sono molte frasi usate qui per esprimere frustrazione, gioia e saggezza. La frase “capitare a fagiolo” è una di queste. “Capitare a fagiolo” è tradotto letteralmente come “to happen at the bean” ed è molto usata nella cultura fiorentina. “Capitare a fagiolo” è una frase gioiosa che significa che qualcosa è accaduto al momento giusto. L’espressione deriva dai tempi in cui la maggior parte delle persone era povera e i fagioli erano un ingrediente essenziale e comune nelle cucine di molte famiglie indigenti italiane, poiché costavano poco. Si riferiva al fatto di essere in grado di mangiare un pasto, quando magari uno non se lo aspettava, perché i fagioli erano capitati al momento giusto! Quindi questa frase è usata quando succede qualcosa di inaspettato. Quando il tuo cane sta male e il tuo amico veterinario viene a trovarti, è capitato proprio a fagiolo! Quando accade una cosa inaspettata, all'improvviso, puoi esclamare “capita a fagiolo!” in completa gioia e gratitudine! 9



FLY LOOK OF THE MONTH by Gianna Cacamese & Alexis Elsman | Model: Alexis Elsman | Photos by Rachel Bill It is officially springtime here in Florence, and we could

a better pop of color than turquoise; perfect for the

not be more excited for the fashion that comes along with

season! To pull together the shades of brown, we topped

the season. Utility jumpsuits, large hats, and denim are a

off the look with a brown leather tote bag, handmade

few spring/summer 2019 trends appearing on the runway.

by FLY student Mary Grace Nudo, a Fashion Design and

Hippie and bohemian vibes are also featured in the latest

Development major at Western Michigan University.

trends, so we decided to incorporate these styles into this look of the month, featuring a piece from Tiche’s

Our model wears her hair in waves, stripped-back

SS19 collection.

makeup, and a smile on her face to set the springtime mood. We hope this look of the month inspires you to

We know that everyone loves a good jumpsuit, so we

shop vintage and join the slow fashion movement. It is

start off the look with a white jumpsuit from Tiche’s new

important to keep the recycling of clothing going, and

collection. Our model wears four vintage pieces and one

our model is glowing in vintage items from head to toe!

student-made item to complete a ‘boho-princess’ look. She wears a vintage Christian Dior rabbit fur, wide brim picture hat. To add some warmth, we chose a vintage, dark wash denim jacket from Diesel that looks great on or draped off the shoulders. To add the perfect shape to the jumpsuit, we added a brown leather WCN New York belt with a turquoise flower that coordinates perfectly with the brown and turquoise Cordeno clogs. We could not have picked


HUNTING FOR HIDDEN TREASURES IN FLORENCE by Mikenzie Clark Photo by the author

When I travel to new places, I like to collect something

content, rendering them mostly plastic. This means that

reminiscent of times past whilst shopping in the present

not only are these clothes bad for the environment, but

day. For those who don’t know what I'm talking about,

that they also won’t last very long. The reason vintage

I’m describing vintage shopping. In a European city like

clothing still exists is because of the fine craftsmanship

Florence, scoping out the very best of the second-hand

and the quality of the material that was used.

fashion on offer is a quest I encourage you to embark on.

This means designer goods still look designer even years

I love everything that comes with the thrill of striking

later. A major reason people love to shop in vintage

gold in an unexpected store, one which more closely

stores is because you can find extremely unique pieces

resembles my grandma’s walk-in closet than a fashion

and items that can make you standout or complete

treasure chest; I assure you, though, it’s worth it.

transform an outfit.

There are so many reason to vintage shop, the primary

The best vintage pieces are timeless and simple. The

reason being that it’s eco-friendly. On average, an

majority of the time, I would recommend staying

American throws away about 80 pounds of used clothes

away from anything made before the 1950’s. Made any

per year, which is incredibly wasteful.

earlier, the clothing begins to look more like a costume

If you can find a decent vintage shop, the inventory will

rather than something you could wear everyday.

be hand-picked, and the quality of the garment is almost

If that’s part of your personal style, however, by all

always a top deciding factor. Clothes manufactured in

means, shop away!

the present day are usually made with very little fiber 11


The idealistic portrait of Dante Alighieri is of a 13th century romantic poet and the founding father of the Italian language. The city of Florence is full of culture, and Dante’s literature was not immune to the artistic passions the city inspires in poets and artists alike.


by Katie Weiler Photos by the Katie Weiler & Olivia Kolkana

In the late 1200s, Dante bestowed upon us his impressions

temporary Florentines can leave a note to Beatrice,

of life in a city that was much different compared to

giving them good luck in their love lives.

today. Florence has many layers; each street brings a

I looked to Dante for artistic inspiration from him

new one. The architecture and styles flit between a

and his love, Beatrice. The facts regarding their

middle age era of intrigue, and the flourishing artwork

meeting are rather odd from a modern perspective;

of the Italian Renaissance. Turning each corner, you can

only encountering a total of three times in their lives,

time travel from the pious days of religious Italy to the

and they both married others. There was barely any

bright modern shops with

luxurious fashion brands,

communication between the two, yet Dante’s legacy

lighting the way from the Ponte Vecchio to the Duomo.

leads people to believe that they were soulmates who

While these trademark elements of the city were not

met when they were just nine years old.

always here, something about Florence undoubtedly sparks creativity in philosophical minds.

Time has romanticized Dante and his forbidden love. Beatrice died at only 24 years old, never having voiced


One historical bright mind is that of Dante; his work

her feelings or lack thereof for the future world-famous

and influences are integrated throughout the city. His

poet, and yet she is a well-known symbol for Italians as

footprints are left behind, from the Sasso di Dante,

well as a martyr for the love and tragedy of their story.

to his museum, and the church, where permanent or

The Divine Comedy is Dante’s most well-known epic,

yet you can also experience his many devotions to Beatrice in his other works. To get an even better insight into their mysterious love, you can find it interwoven into the seams of Dante’s first epic, La Vita Nuova, describing the two lovebirds encountering one another with the guidance of Amor. While Dante may not be the modern writer of poetic love that we find in the best romance novels, there is an underlying love that indeed separates Dante from his time period and sets him in the metaphorical literary chair of honor. Dante’s work is more than just about romantic love, and it steers its way around the concept of passion. Religious implications are highly noticeable in the framework of all of his epics, but the love between Dante and Beatrice can also stand for many different relationships that extend beyond the surface. While religious and spiritual love is clearly depicted between the two humans, the love Dante shares transcends beyond the human form. Dante and his writings, all of which are influenced by Beatrice, can be seen as a poetic love, and a device he uses in seeing Beatrice as a muse and symbol for his inspiration.

The love Dante describes is all-encompassing and present, even when Beatrice isn’t. He could be talking about love of a city and not a person. A city could never love you back, but that doesn’t stop his artistic drive in the poem’s obsession with Beatrice. While Dante is still pining over Beatrice after he has seen her for the last time, it is obvious that he does not care that she is not physically there, and that this is a different kind of love. The love between writer and subject is something rare and artistic, something encountered almost by accident. Reading Dante’s words while walking the streets of Florence, I now personally see Dante’s love for Beatrice in a purely platonic way. I believe Dante’s work places his love for Beatrice alongside his love for his city, which is then taken away from him when he is eventually exiled from his home. To me, Florence is an object of love that is not romantic, but the connection is still purely spiritual and representative of something greater. 13


FLORENCE REFLECTION by Zoe Rowland-Simpson Photo by Olivia Kolkana


Elena sits in the outdoor cafè of the piazza, enjoying

the beauty around her, and to acknowledge the present

her cappuccino topped with a little cinnamon that fills

moment. Elena reminds herself that every minute she

her with warmth, and attempts to take a moment away

spends bothered by something that will be insignificant

from the drama of this past week. While sitting there, as

in years to come, is a minute spent not enjoying her

thoughts of the argument with her father run through

new home. When May comes, quick as it will, she knows

her head, she notices a mom and her teenage daughter

she will be heartbroken to have to return home, and she

express their awe at the church of Santa Croce. The

will wish that she had spent her days in cafes soaking

moment puts a pause to the stream of dramatic

up the golden sun, listening to the Italians while writing

thoughts in her head, and instead brings back the

in her journal. She would hate herself if, years later,

memory of her first reactions to the city of Florence.

when she went back to her journals to read about her

Suddenly, she’s thankful to have witnessed this small

Florentine adventure, she saw how much time she spent

part of their day, as it makes her remember to look at

not enjoying the city and those she was with.



by Olivia Kolkana Photos by the author

also worked at Ganzo and I learned a lot of culinary techniques there. Chef Massimo was particularly great; he and Chef Andrea taught me important organizational skills and how to manage stress and time-constraints in the kitchen. FUA: What would you say to any future students looking into studying at FUA? I would say, go for it! FUA has already developed so much since I was studying here, this place is amazing and it’s always moving forward. I remember I used to send lots of photos and videos of the facilities to my friends back home and they wanted to enroll here too! FUA: Hi JR, tell us a bit about yourself... JR: My name is JR Rellema and I’m from the

FUA: Describe your FUA experience in one word…

Philippines. I studied at FUA from 2015 to 2016, and

JR: Life-changing

I graduated with my masters in Italian Cuisine from Apicius International School of Hospitality.

FUA: What are your plans for the future? JR: Very soon I’ll be studying Business in Australia

FUA: What have you been up to since leaving Florence?

and then after that, I hope to open my own

JR: After leaving Florence, I worked on a cruise

restaurant, we’ll see…

ship for 2 months. I realized that it wasn’t for me, so I worked at a newly-opened restaurant for eight months. Then last July, I embarked on an exciting venture starting pop-up restaurants with my friends, most of these restaurants we set up on the street. FUA: Did you complete any internships with FUA? JR: Yes! In my first year at FUA, I worked for a month in a restaurant called Boccanegra, and another month in a trattoria in Sant’Ambrogio called L’Otorne. These places were a really interesting experience since they are authentic Italian restaurants and so communication was a challenge; I learned a lot. I 15


Coordinamento Editoriale |

Supplemento di |

Managing Editor

Supplement to Blending Magazine

Shauna K avanagh

Reg. Trib. di Firenze n° 5844 del 29 luglio 2011

Redattore Associato | Managing Editor

Anno 9 – Numero 2 – marzo - aprile 2019

Alice Fratoni

Year 9 - Issue 2 - March - April 2019

Redazione testi | Copy Editors Editore | Publisher

Christina Bogdani

Florence Campus per INGORDA Editore

Gina Esposito

Via Alfonso Lamarmora, 39

M adison Miller

50121 Firenze

M adison Poulin

Blending is a newsletter created

Sede editoriale |

Consulenti Accademici | Faculty Advisors

with and for students of Florence

Editorial Headquarters

Catia Ballerini

University of the Arts, the

via dell'Oriuolo, 43

A ndrea M ancini

academic member of Palazzi FAIE.

50122 Firenze

Gaia Poli

The newsletter collaborates with

Tel. 055 2633 182/183

Nicoletta Salomon Livia Sturlese

the Student Life Department and Development Office.

Stampato in proprio |

For information contact:

Printed in house

Impaginazione | Page Layout


fua communication team

Direttore Responsabile | Editor in chief

M atteo Brogi

Redazione fotografica | Photo Editor

Olivia Kolkana Caporedattore | Editorial Director Grace Joh 16

p e r F l ore n c e C a mpu s E d it ore

Millions discover their favorite reads on issuu every month.

Give your content the digital home it deserves. Get it to any device in seconds.