Segmento – Unapologetically Italian Issue XXXIX • July - September 2025
Cover
Hair and Makeup artist
Andrea Hall
Nails by Tracy G.
Photographer An La Model
Jade Smith Designer Birdskin
Contributors to the XXXIX Issue of Segmento
Photographers An La
Writers
Lucia Barbera
Paola Bisciglia
Giovanni Butera
Raffaele Caputo
Luca Esposito
Monica Florio
Laura Giansanti
Claudia Goundar
Alberigo Grassi
Agata Grimaldi
Annika Mallamaci
Chiara Perego
Claudia Scotellaro
Donato Sposato
Segmento acknowledges the traditional owners of the land on which this publication was prepared and published. We pay our respects to Traditional Elders past and present. We pay respect to the age old traditions of all Indigenous people.
Publisher and Editor-in-Chief
Dr Giovanni Butera segmento@segmento.com.au
Contributing Editor
Raffaele Caputo
Graphic Artist Lenora Locatelli design@segmento.com.au
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Ivana Eleftheriadis socialmedia@segmento.com.au
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MULTICULTURAL FILM FESTIVAL 2025 FILM
The Multicultural Film Festival will continue to tour across Victoria, showcasing the Official Selection at key venues including Bunjil Place (Narre Warren), The University of Melbourne (Shepparton), RMIT University (Melbourne), Rosebud Cinema (Mornington Peninsula), and Federation Square.
As societies everywhere wrestle with shifting identities, migration flows, generational transitions, and global crises, we at Segmento believe in highlighting the invisible thread that binds us: our shared humanity, expressed through the richness of our differences. This issue explores what it means to be united in diversity—not through slogans, but through the lived experiences of those who embody this spirit daily. From inspiring leaders to the rhythms of multicultural festivals and crosscultural artistic collaborations, from family recipes passed down through generations to diasporic fashion made global, we journey into the many expressions of belonging.
We begin with Marco Fedi, whose lifelong service to the Italian-Australian community reminds us that civic strength grows when institutions listen, include, and evolve with their people. From parliament to the helm of local grassroots organisations, Marco’s journey is a powerful example of engagement that bridges generations and geographies.
two generations of Italian artists—we explore how music is rediscovered when language, memory, and feeling come together.
In the rhythms of folk music and the Tarantella Festival, we hear more than just melodies; we hear centuries of collective resilience, joy, and connection. These traditions aren’t just preserved for nostalgia—they’re reimagined to connect young and old, local and global. Within these pages, you’ll also find tributes to those who—like Fred Alale AM—continue to bridge generational and cultural divides, both within our beloved Australian community and beyond. Whether through language, food, music, or memory, their efforts keep the mosaic whole.
In this spirit, we embrace being “Unapologetically Italian” not as an exclusionary label, but as a celebration of proud origins. Because social cohesion doesn’t ask us to erase who we are; it calls us to show up fully—with our stories, accents, customs, and values.
In a truly united and diverse society, every citizen of the world should feel empowered to say: This is where I come from—and I am proud of it.
Let us celebrate one another. Let us listen. And above all, let us never stop believing in the strength of diversity— because united, we are not only stronger. We are whole.
Cari Lettori, Editorial
We reflect on the enduring legacy of Il Globo, a newspaper that for over 65 years has been a voice, mirror, and meeting point for Italians in Australia. In our interview with Dario Nelli, we explore how the media can be more than a messenger—it can be a builder of unity. Then, through the story of Roberto Bozzo and Lorenzo Maida—
Buona lettura e a presto!
Chiara Perego
Vecchia by Paola Bisciglia and Monica Florio
BRIDGING GENERATIONS
MARCO FEDI AND THE SOUL OF SOCIAL COHESION
by Claudia Scotellaro| Images provided by Co.As.It.
The CEO of Co.As.It. Melbourne reflects on his journey from migrant to political leader and community advocate. In this intimate profile, he shares insights on identity, service, and the vital role of genuine social cohesion in an increasingly divided world.
In the quiet offices of Co.As.It. Melbourne, Marco Fedi speaks with the gentle conviction of someone who has spent a lifetime listening. Not just hearing, but truly listening—to elders in need of care, to new migrants navigating unfamiliar terrain, to young families seeking connection to their heritage. A former parliamentarian and now CEO of one of Australia's most enduring Italian community
institutions, Fedi’s journey from Ascoli Piceno to Adelaide, from political corridors in Rome to the grassroots of multicultural Melbourne, is a mirror of the broader Italian-Australian experience—layered, evolving, and deeply human.
Fedi arrived in Australia in 1983, following his wife, an Australian of Italian descent. Like many migrants of his generation, he came with skills and a sense of pragmatism. “I have never been unemployed,” he recalls—a testament not only to his resilience, but also to a time when Australia’s doors and economy were more open.
Yet his trajectory was far from ordinary. From work in construction to advocacy and, eventually, political office in the Italian Parliament, Fedi has consistently sought to serve. “For me, everything was preparatory to that goal,” he says of his ascent to public life. Still, after 12 years in politics—and a profound personal health crisis—Fedi chose to return to community-based work, where change, though quieter, feels more meaningful.
At Co.As.It., Fedi found a different rhythm, one grounded in listening and action rather than ideology and rhetoric. “Listening has always found a concrete response in us,” he explains. Unlike in politics, where listening can feel performative or frustratingly futile, the needs of the community at Co.As.It. are tangible, immediate, and
Marco Fedi
addressed with purpose.
He is candid about the institution’s challenge: remaining relevant in a rapidly diversifying society. The Italian-Australian community is aging, while new generations bring different languages, cultures, and expectations. Initiatives like Witcare, created during the isolation of COVID-19 to support young Italians on working holiday visas, reflect this responsiveness. “It’s not just about preserving tradition,” Fedi notes, “but adapting it, innovating it, so that no one is left behind.”
Fedi’s reflections inevitably return to one of his most passionate concerns: social cohesion. “Social cohesion
concerns everyone,” he insists, pushing back against the reductive framing of cohesion as something needed only by migrants or the disadvantaged.
In a time when inequality deepens even in affluent countries, Fedi urges us to see cohesion as a collective commitment.
“If a society does not experience true cohesion, its contradictions become violent,” he warns. The danger lies not in diversity but in the failure to distribute opportunity fairly.
It’s a deeply moral stance that critiques political systems obsessed with shortterm wins and soundbites. For Fedi, real progress comes from investing in services, education, infrastructure— and in people. “Perceptions are often
Marco Fedi (far right) with his team at Co.As.It.
used as blunt instruments to win elections,” he says, his disappointment in political cynicism palpable.
After surviving a life-threatening illness in his 50s, Fedi’s view of time sharpened. His current projects—which include establishing a universal community library, digitising education tools, and reviving a community-run childcare centre and program—are all part of what he sees as a necessary evolution for Co.As.It. and the broader ItalianAustralian presence in Victoria.
“Our elderly must not be left behind,” he says. But neither should the next generation—those born with hyphenated identities, navigating a globalised world with both pride and uncertainty.
He’s especially proud of Co.As. It.’s Università della Terza Età, an educational program for older adults that reinforces his belief that aging doesn’t mean disengagement. “Pensare (to think) and pensionare (to retire)
share the same root,” he says with a smile. “It’s time for reflection.”
When asked where he feels he belongs, Fedi pauses—not out of hesitation, but because the question itself seems too narrow. “I don’t feel only Italian. I’m also Australian.” He has built a life in Melbourne, raised daughters who bridge languages and cultures, and now enjoys time with his young grandson, Alberto. But he remains a man of broad roots and open branches—a cittadino del mondo (citizen of the world) who embodies what it means to belong to more than one place, one identity. As he contemplates the next chapter of his life—one with more time for family, reflection, and perhaps a return to gym routines—he does so with humility and clarity. “Looking ahead … but also looking back to make sure no one is left behind.”
This isn’t just the ethos of a leader—it’s the essence of social cohesion.
Marco Fedi (first row, centre) poses with Co.As.It. volunteers after a luncheon held in their honour
THE RHYTHM OF UNITY
FRED ALALE'S CULTURAL VISION
by Lucia Barbera| Images provided by Fred Alale AM
Fred Alale AM, Finance leader and Director in Victoria’s Department of Education and a community leader held in high regard, tells of his journey from Nigeria to Australia, highlighting his dedication to diversity and community through the African Music and Cultural Festival. His vision for unity and inclusion fits perfectly with Segmento’s mission to promote social cohesion.
Fred Alale’s story is one of resilience, ambition, and a deep commitment to fostering a harmonious, multicultural society.
Originally from Nigeria, Fred’s path has taken him through the UK and, eventually, to Australia. Now, at 48, he is not only a successful professional but also a passionate advocate for unity,
particularly through his contributions to the African Australian communities. His work, notably through the African Music and Cultural Festival, highlights his tireless efforts to bridge cultures and celebrate diversity.
Fred’s connection with Australia began in 2010 when he and his wife visited Sydney and Cairns for their honeymoon. They were struck by the country’s relaxed lifestyle and inclusive atmosphere, which led them to explore migration opportunities.
As a chartered accountant, Fred’s expertise was in demand, easing their migration process. Reflecting on their decision, Fred shares: “When we visited Australia, we felt a sense of inclusivity and freedom. It was a place where we could build a future for ourselves and contribute to society.”
Growing up in Nigeria, Fred was deeply influenced by his mother, Stella, who instilled in him the values of hard work and resilience. Despite losing her husband early, Stella worked tirelessly to ensure her children had every opportunity to succeed. “She was my guiding force, instilling in me values of education, perseverance, and giving back to community,” Fred states.
Fred’s educational journey took him to the UK, where he earned a firstclass honours degree in Accounting and Finance. His dedication led him to prestigious roles with companies like Guoman Hotel Group and Ernst
Fred Alale AM
& Young, gaining a global perspective on financial systems and business strategies. These experiences laid the foundation for his work in Australia, where he has applied the principles encapsulated by the acronym VENTO: Vision, Excellence, Networking, Tenacity, and Opportunities.
Now a proud father of three daughters— aged 17, 13, and 3—Fred’s commitment to creating a better, more diverse world for them drives his work. “As a father, I want to create a society where my daughters can grow up surrounded by cultures that appreciate and celebrate diversity. I want my ceiling to be their floor,” he says.
Fred’s involvement with Melbourne’s African communities began through cultural events aimed at promoting unity and African heritage. His role as treasurer and subsequently President of the Nigerian Society of Victoria was pivotal in launching one of his most impactful initiatives: the African Music and Cultural Festival. What began as a modest, one-day event in 2014, drawing fewer than 5,000 people, has since expanded to a three-day festival attracting over 50,000 attendees. Today, the festival stands as a symbol of cultural pride and unity for African Australians.
The African Music and Cultural Festival, which takes place annually at Federation Square in Melbourne, has grown exponentially. Fred hopes it will eventually become the largest cultural event in Australia, drawing over a million people annually. This year, the festival will take place from Friday, 21st
November to Sunday, 23rd November.
The event serves as a powerful platform for cultural exchange, where people from diverse backgrounds celebrate their unique traditions while appreciating others.
The festival is more than just an event: it embodies Fred’s vision for unity and inclusivity. Bringing together more than 40 African communities, the festival showcases their rich culture through music, dance, food, and performances. This spirit of cultural exchange is at the heart of Fred’s work, helping to create a space where people from all walks of life can connect, share, and learn from one another.
Fred takes immense pride in how African culture is introduced to the broader Australian community, while
Fred Alale AM dressed in traditional African attire at the AMCF
also learning from other cultures. For instance, Fred has come to appreciate the Italo-Australian community’s strong focus on family and tradition, recognising common values between African and Italian cultures, such as the significance of family, community, music, and food. He envisions further
cross-cultural collaborations within the festival, such as blending African drumming with Italian folk rhythms. According to him, “Music is a universal language. When we share our music, food, and stories, we’re building a richer, more diverse society”.
The festival’s inclusivity doesn’t stop at African culture; it has expanded to feature Jamaican, Colombian, Brazilian, and other national cuisines, further celebrating Australia’s multicultural society. Fred believes music and food are powerful tools for breaking down cultural barriers and fostering understanding between communities.
Fred’s contributions have not gone unnoticed. In the 2023 Australia Day Honours, he was appointed a Member of the Order of Australia (AM) for his significant impact on the community. Additionally, his exceptional work during the COVID-19 pandemic earned him a place on the COVID-19 Honour Roll for his outstanding dedication during such a challenging period.
At the core of Fred’s work lies a powerful belief: the more we celebrate our differences, the stronger our communities become. He envisions a future where every community, no matter how new or small, can contribute to Australia’s vibrant cultural mosaic. By building bridges through cultural exchange, Fred continues to create spaces where people from all backgrounds can come together, share their experiences, and deepen their understanding of one another.
Lord Mayor of Melbourne Nick Reece with the AMCF team
African dancers performing at the AMCF
IL GLOBO : A PILLAR OF SOCIAL COHESION UNITING
ITALIAN-AUSTRALIANS ACROSS GENERATIONS
by Giovanni Butera| Images provided by Il Globo
Since 1959, Il Globo has been a vital link for Italian migrants in Australia, promoting unity and cultural preservation. Through evolving platforms and initiatives, it continues to bridge generational divides and strengthen community bonds.
In the tapestry of Australia’s multicultural society, the Italian community stands out for its rich heritage and enduring contributions. Central to this narrative is Il Globo, a newspaper that has not only chronicled the Italian-Australian experience but has actively shaped it.
Established in Melbourne on November 4, 1959, by Ubaldo Larobina and Tarcisio Valmorbida, Il Globo emerged to address the fragmented communication among Italian migrants hailing from diverse regions of Italy. The post-war influx of Italian migrants brought together people from diverse regions, each with distinct dialects, traditions, and customs. This diversity, while enriching, also posed challenges to unity. Recognizing the
need for a cohesive platform, the founders launched Il Globo to serve as a unifying voice. The newspaper provided news from Italy, updates on local events, and a space for community announcements, effectively knitting together the disparate threads of the Italian diaspora in Australia.
Beyond news dissemination, Il Globo initiated events like the “Miss Italian Community Quest” in Victoria, which transcended regional affiliations and fostered a collective Italian-Australian identity. Such initiatives not only celebrated cultural pride but also facilitated integration into the broader Australian society. The pageant also raised funds for Australian and Italian charities, including the Spastic Children’s Society
Dario Nelli with Prime Minister Anthony Albanese and other members of the Australian Parliament
(now known as Scope), demonstrating the Italian community’s generosity on the national stage.
Evolution and Adaptation
As the community matured, so did Il Globo. Recognizing the changing media landscape and the community’s evolving needs, the newspaper expanded its reach. The launch of the radio platform Rete Italia in the 1990s, and Il Globo TV in the 2020s, marked significant strides in multimedia engagement. These platforms catered to different age groups and preferences, ensuring that the Italian voice remained resonant across generations.
In response to the digital age, Il Globo transitioned from a daily to a biweekly publication, aligning with contemporary consumption patterns. This shift allowed for more in-depth reporting and analysis, catering to readers seeking comprehensive coverage. The newspaper also embraced digital platforms, offering online editions and expanding its reach beyond traditional print media. Understanding the importance of language in cultural preservation, Il Globo introduced educational inserts like “In classe,” distributed free to schools. These resources aimed to reinforce the Italian language among younger generations, ensuring that cultural ties remained strong. By collaborating with educators and institutions, Il Globo positioned itself as a partner in cultural education.
Moreover, the newspaper’s content strategy evolved to include select English-language articles. This bilingual approach ensured accessibility for
younger readers or those not fluent in Italian, promoting inclusivity without compromising cultural authenticity.
Community Engagement
Il Globo’s commitment to community cohesion extended beyond its pages. The newspaper actively collaborated with Italian clubs and associations, supporting events and providing live coverage. By highlighting regional festivals, culinary events, and cultural exhibitions, Il Globo celebrated the community’s diversity while promoting unity. These collaborations also served as platforms for intergenerational interaction. Events organized in partner-
The team at Il Globo in early 2000s
The team at Il Globo celebrating its 50th anniversary in 2009
ship with Il Globo often featured activities catering to all age groups, fostering mutual appreciation and understanding. The newspaper’s support for initiatives like Co.As.It.’s intergenerational programs further exemplifies its role in bridging generational divides. Despite its successes, Il Globo faces contemporary challenges. The Italian community, once perceived as a priority by Australian authorities, now competes for attention amidst newer migrant groups. Advocacy remains crucial to en-
sure that the community’s evolving needs are addressed.
A significant concern is the generational disconnect. As younger Italian-Australians assimilate, there’s a risk of cultural dilution. Il Globo recognizes this and emphasizes initiatives that engage youth, such as digital content, interactive platforms, and events that resonate with contemporary interests. Furthermore, the newspaper acknowledges the pivotal role of elders in cultural transmission. By featuring stories, interviews, and columns from older community members, Il Globo facilitates the sharing of experiences and wisdom, bridging the generational gap.
Beacon of Unity
Il Globo’s vision isn’t confined to Australia. Establishing points of contact in Europe, Argentina, and Uruguay, the newspaper leverages digital platforms to connect with the global Italian diaspora. This international outreach fosters a sense of global community, allowing Italian-Australians to engage with broader narratives and experiences.
Il Globo’s journey from a regional newspaper to a multifaceted media entity underscores its unwavering commitment to the Italian-Australian community. By adapting to changing times, embracing technological advancements, and prioritizing cultural preservation, Il Globo remains a beacon of unity. As it continues to evolve, the newspaper stands as a testament to the power of media in fostering social cohesion, bridging divides, and celebrating shared heritage.
Il Globo directors over the past 65 years: Ubaldo Larobina, Dario Nelli and Nino Randazzo
A smaller but stronger team celebrating its 60th anniversary in 2019
ITALO-AUSTRALIAN
Singer-Songwriter
THE VIOLIN UNVEILED A JOURNEY TO THE HEART OF CREMONESE LUTHIERY
by Raffaele Caputo | Images provided by Roberto Messina
From Amati and Stradivari to Stefano Trabucchi, the centuries-old art of Italian violinmaking continues to resonate through the luthier workshops of Cremona. Roberto Messina’s new book traces five centuries of tradition, craftsmanship and cultural pride.
When Roberto Messina sat down with master luthier Stefano Trabucchi, he knew their conversation would be more than just an interview. It would become a
journey into the heart of Cremona’s unmatched luthiery tradition, resulting in Il violino svelato: storia, tecniche e segreti della liuteria italiana da Stradivari a oggi (The Violin Unveiled: History, Techniques and Secrets of Italian Luthiery from Stradivari to Today). Published by Academ Editore, this book-length interview pays tribute to heritage, craftsmanship, and the eternal beauty of the violin.
In an age of mass production and digital convenience, few things retain their aura of mystery and authenticity like the hand-crafted violin. Italian luthiery—especially that rooted in Cremona—remains an emblem of patience, genius, and dedication, all of which are embodied in Stefano Trabucchi, a master craftsman.
Trabucchi is also the current President of both the Consorzio Liutai Cremona and Confartigianato Cremona. His voice carries the weight of artisanal history. His shop, nestled in the historic centre of Cremona, is where past and future meet—where tools, skilled hands, and intuition create instruments of unparalleled character.
What makes Messina’s book special is not just its clear, engaging style, but how deeply it delves into the roots of this ancient craft. It’s a long, passionate dialogue between two connoisseurs—a guided tour into the very DNA of Italian craftsmanship that uncovers the unique and immeasurable value of an artisanal heritage handed down over
Stefano Trabucchi at work, carefully applying varnish to one of his creations
generations, shaped by both science and myth.
The story begins in the 1500s when Andrea Amati gave form to what we now recognise as the modern violin. It was he who codified its proportions and acoustic innovations, setting a new standard of excellence. What followed was an extraordinary transmission of knowledge, passed from family to family, from master to apprentice. This legacy reached its peak in the 17th and 18th centuries—referred to as the Golden Age of violin-making—when names like Giuseppe Guarneri, Carlo Bergonzi and, above all, Antonio Stradivari were immortalised as paragons of absolute craftsmanship. Stradivari, born in 1644 and active un-
til his death in 1737, is widely acknowledged as the greatest luthier of all time. His instruments are prized heirlooms, safeguarded in museums and private collections around the world. They are studied as relics, envied for their sound quality, and surrounded by an aura of mystery. How did he achieve such perfection? What was his secret? Today, Cremona carries that legacy forward with renewed pride. With over 150 active workshops, the city has regained its status as the global capital of violin-making. In 2012, UNESCO recognised this living tradition by inscribing “Traditional violin craftsmanship in Cremona” on its Representative List of the Intangible Cultural Heritage of Humanity. This honour celebrates not
Inside the master luthier’s workshop in Cremona
only the historical and cultural value of the Cremonese school, but also its enduring identity and relevance.
Stefano Trabucchi’s role today is both as a guardian of tradition and as a bridge between the old and the new. His workshop at Via Bella Rocca 14 is a space where ancient methods are married to the demands of modern musicians— whether they’re concert performers or collectors. Specialising in the construction of the classical string quartet—two violins, viola, and cello—Trabucchi brings discipline, passion, and adaptability to each creation.
As discussed in the book, crafting a stringed instrument borders on the alchemical in its complexity. Each violin or cello consists of more than 70 individual wood components. Every piece must be selected with obsessive care, based on acoustic properties, seaso-
ning, and origin. These are then shaped and assembled entirely by hand. The quality of the sound depends on countless variables—from the thickness of the plates and their curvature, to the varnish applied and the final tuning of every microscopic element. No two instruments are alike. Each one is a unique, irreplaceable creation—an expression of the artisan’s eye and hand. No machine can replicate it.
The mystique of Italian violin-making is further enriched by folklore and pseudo-scientific theories. Some speak of lost varnish formulas, secret resonances, or the effects of the “Little Ice Age” on wood density. Others invoke vibrations, ancient rituals, or mysterious chemical compounds. In recent years, acoustic engineers and material scientists have tried to explain the Stradivari phenomenon—but even they admit that some aspects of this “sonic miracle” remain elusive, perhaps inexplicable.
The Violin Unveiled is a map to that miracle. It’s not a technical treatise, nor just a historical survey. It’s a celebration of art and memory, touch and sound, devotion and cultural continuity. It speaks to musicians, artisans, scholars, and curious readers alike. It honours an Italy that still knows how to preserve, transmit, and reinvent its most noble traditions.
And in telling this story, Messina and Trabucchi hope to restore the violin to what it truly is: not just as a musical instrument, but as a symbol of harmony, heritage, and human brilliance.
Roberto Messina, author of Il violino svelato
SEGMENTO TARANTELLA FESTIVAL 2025
FOLK MUSIC VIRTUOSOS IGNITE MELBOURNE AND SHEPPARTON IN A CELEBRATION OF RHYTHM, ROOTS, AND SOUTHERN REVIVAL
The Segmento Tarantella Festival returns in 2025 with a powerful lineup featuring Sabatum Quartet, The Rustica Project, Greek ensemble Omados, Viva Cu Sona, Kavisha Mazzella, and more. Tradition becomes revolution in this Calabrian-Australian cultural epic. by Raffaele Caputo | Images provided by Segmento’s Archive
Every culture has its sacred rhythm. For Calabrians—and all Southern Italians—that rhythm is the tarantella: a whirlwind of strings and drums, where grief transforms into joy, and memory spins into movement. It is more than music or dance—it’s a ritual, a remedy, a rebellion. Once a year in Victoria, the Segmento Tarantella Festival shapes up to be more than an event—it’s a southern storm of culture, pride, and transcendent artistry. With performances across two venues—Melbourne’s beloved Calabria Club in Bulla and the sundrenched Shepparton Showgrounds in regional Victoria—this year’s festival
reaffirms its place as a cornerstone of Italian-Australian identity. But it is also something greater: a moment of cultural history.
The crown jewel of this year’s lineup is Sabatum Quartet, making their muchanticipated Australian debut. From the heart of Calabria, this internationally acclaimed ensemble has redefined the landscape of traditional Italian music. Their sound—haunting vocals, virtuosic playing, and modern genreblending arrangements rooted in ancient modalities—transports listeners to a place both timeless and defiantly modern. Their participation marks a turning
Tarantella Festival 2024: celebrating the dance that connects generations
point for the Tarantella Festival: from local legend to global ceremony. Following in the footsteps of past legends of the festival, Sabatum brings the voice of a new generation—one that crosses borders and genres without ever losing its roots.
It’s impossible to speak of this year’s triumph without honouring the towering figures of past festivals. Who can forget Ciccio Nucera’s electrifying 2022 performance, his hands summoning centuries of fury from the tamburello? Or Alfio Antico in 2023—a living myth, a Sicilian griot whose voice rumbled like the earth and whose drums beat with the rhythm of Mount Etna itself.
Alfio’s performance was more than a concert—it was an initiation. When he sang, the walls of the Calabria Club felt as though they breathed. When he played, time seemed to stop, and something ancient slipped through. His artistry set a standard that still echoes today—one this year’s performers are
more than ready to meet. Returning with renewed force is The Rustica Project, the powerful collaboration between Elvira Andreoli, Felice Paone, Tony Villella and Anthony Stalio. Their music is sonic archaeology: digging deep to uncover the pulse of forgotten villages, shepherds’ hymns, mothers’ laments, and the stomping joy of festivals long past.
Rustica doesn’t merely perform tradition—they resurrect it, infusing it with electronic textures, unexpected harmonies, and lyrical intensity that makes the old sound shockingly new. Their work reminds us: the tarantella isn’t nostalgia, it’s transformation. For the first time in the festival’s history, the Mediterranean opens wider with the inclusion of Omados, a Greek ensemble led by the magnetic Joseph Tsombanopoulos. Steeped in the rugged traditions of mainland Greece and the windswept spirit of the islands, their music weaves seamlessly into the tapestry of Southern Italian folk. Here, the borders blur—between Greek and Calabrian, tarantella and syrtos, nostos (return) and katarsis (release). With his laouto and fierce vocal delivery, Tsombanopoulos brings a brotherly fire to the festival, a reminder of the shared roots and mirrored rituals of two cultures once joined by Magna Graecia, and still bound in spirit.
Of course, no Tarantella Festival would be complete without the heart and soul of Victoria’s own Calabrian musical community. This year, Viva Cu Sona takes centre stage—an ensemble of local musicians who live and breathe the traditions passed down by nonni in backyard parties, church halls, and
Kavisha Mazzella
Sunday dinners.
Their authenticity is unfiltered. Their sound is familiar—that indescribable feeling of homecoming when the first note of the organetto hits the air. These are the musicians who remind us that culture isn’t only inherited—it’s lived. In the eye of the musical storm is the body that sets it moving. Josephine Paone, this year’s lead tarantella dancer, is nothing short of a revelation. With every twirl, stomp, and sweep of her arms, she channels centuries of women’s stories—the fury of the spider-bitten, the freedom of the wildhearted, the grace of the resilient. Her dancing isn’t performance—it’s a call. An invitation to the audience to rise, to join, to remember. In her presence, the dance becomes communion.
And as if the program weren’t luminous enough, Kavisha Mazzella returns to the festival fold with her inimitable warmth and poetic gravitas. An ARIA-winning force of nature, a balladeer of the Italian diaspora, and a tireless champion of migrant stories, Mazzella’s is both anchor and flight. She reminds us that we carry our pasts in our voices—and that when we sing together, we belong. From Melbourne’s multicultural heart to the open skies of Shepparton, Segmento Tarantella Festival 2025 stretches wide—but its essence remains unchanged: a celebration of roots, rhythm, and resilience. In a world obsessed with speed and novelty, this festival dares to look backward in order to leap forward. It honours tradition not by preserving it in glass, but by setting it aflame—again and again.
Whether you are Calabrian, Greek, or simply a seeker of beauty, this is not a weekend to miss. This is where music heals. Where dance remembers. Where the South rises—not just as a place, but as a pulse. Come feel it.
Elvira Andreoli
Omados
ROBERTO BOZZO AND SABATUM QUARTET
WEAVING CALABRIAN ROOTS INTO AUSTRALIA’S CULTURAL TAPESTRY
by Raffaele Caputo| Images provided by Sabatum Quartet
From the heart of Calabria to the stages of Melbourne, Roberto Bozzo and Sabatum Quartet bring a soulful blend of tradition and innovation to the Segmento Tarantella Festival.
Roberto Bozzo’s musical odyssey is deeply rooted in his native Calabria, a region known for its vibrant traditions and resilient spirit. Despite the challenges of pursuing a music career in southern Italy, Bozzo chose to remain in his homeland, drawing inspiration from its landscapes, dialects, and communal values. His early life in Donnici—a village in the province of
Cosenza known for its DOC wine and enduring customs—instilled in him a profound respect for cultural heritage. Initially, Bozzo’s musical endeavours were influenced by the British new wave scene, leading to the formation of the indie band K-Byte. However, his intrinsic connection to Calabrian folk traditions soon prompted a fusion of rock elements with ethno-pop sounds, chal-
Sabatum Quartet
lenging prevailing prejudices against dialect music and showcasing its universal appeal.
The inception of Sabatum Quartet marked a pivotal moment in Bozzo’s career, as he sought to differentiate his musical expression by integrating traditional instruments with contemporary styles. Formed initially as a quartet, the group quickly found success in local and regional circuits, prompting an expanded lineup and a reputation for dynamic, inclusive performances. Their concerts are characterized by improvisation and a deep empathy with audiences, allowing for real-time adaptation to the crowd’s energy.
Over two decades, Sabatum Quartet has released eight albums and embarked on numerous international tours, serving as cultural ambassadors for Calabria. Their commitment to authenticity and innovation has solidified their status as torchbearers of a living tradition, resisting the temptation to emulate other musical models.
Beyond his collaborative projects, Bozzo has pursued a solo career that encapsulates his multifaceted artistry. His album Gente che sa vivere (“People Who Know How To Live”) embodies a philosophy centred on living in the present and conveying genuine cultural narratives through music. Sung in four languages—vernacular, Italian, English, and Spanish—the album reflects Bozzo’s versatility and his dedication to connecting with diverse audiences.
Bozzo’s solo work also includes lighter, animated projects tailored to specific environments, demonstrating his adaptability and keen understanding of context in musical expression.
Roberto Bozzo
Giovanni Altomare
Inspiring Future Generations
Looking ahead, Bozzo emphasizes the importance of the creative journey over specific milestones. He continues to produce music despite shifts in how audiences consume it, valuing the tangible aspects of craft and the direct relationship with listeners. He is passionate
about imparting to younger generations the dignity and professionalism inherent in the musician’s craft, aiming to dismantle outdated stereotypes and instil a legacy of awareness and values.
Bridging Cultures
The upcoming Segmento Tarantella Festival in Australia serves as a testament to the enduring relevance of Calabrian folk music and dance. With support from organizations like the Segmento Foundation—a non-profit dedicated to promoting Italian culture and fostering community through inclusive, collaborative initiatives—the festival keeps tradition alive by embracing experimentation and innovation. Bozzo and Sabatum Quartet’s participation as special international guests underscores the festival’s mission to celebrate and preserve cultural heritage while promoting cross-cultural dialogue. Their performances are anticipated to be a highlight of the festival, offering Australian audiences an immersive experience into the soulful rhythms and narratives of Calabria. Through their music, Bozzo and Sabatum Quartet not only entertain but also educate and inspire, bridging continents and generations with their art.
Renowned Calabrian singer-songwriter Roberto Bozzo and his ensemble, Sabatum Quartet, are set to captivate Australian audiences as special international guests at the upcoming Segmento Tarantella Festival. Their performances promise a rich fusion of traditional Calabrian folk music with contemporary influences, reflecting Bozzo’s lifelong dedication to cultural authenticity and musical evolution.
Trieste Marrelli
SPEAKING TRUTH IN A WORLD OF ECHOES TURNING RAW EMOTION INTO A MELODY FOR BELONGING
by Annika Mallamaci | Images provided by Lorenzo Maida
Italian artist Maida turns vulnerability into strength through music, crafting songs that reflect the confusion, beauty, and hope of growing up in a world that rarely stops to listen.
Lorenzo Maida, known artistically as Maida, is part of a generation of young Italians using music not just as a career, but as an existential tool. A singer-songwriter born with a deep sensitivity and shaped by global experiences in television, theatre, and cinema, he has chosen music as his purest means of expression. With two EPs and over a dozen singles released, his music dives into the intimate struggles and universal emotions of youth: identity, belonging, vulnera-
bility, and the search for meaning in a society that often discourages depth. With humility and poetic clarity, he invites us to climb to the top of the Gianicolo—a hill in western Rome that offers one of the most scenic views of the city—and see our lives, and ourselves, from above.
“Ti sei mai visto dall’alto, dal punto più alto del Gianicolo?” (“Have you ever seen yourself from the top of Gianicolo Hill?”) is how Maida introduced his latest single “Shuffle” to the world. Not
Lorenzo Maida
with a slogan or a chorus designed to sell, but with a question—one that disarms, slows you down, and asks you to feel.
It’s the kind of sincerity that defines Maida’s music—and Maida himself. “I don't write to impress. I write because I need to.”
Sitting across from him, it’s clear he’s not just saying that for effect. There’s a calm honesty to his words, a gentle urgency, as if his music were the only way he could make sense of the world—or leave something behind in it.
Maida’s musical journey started quietly in his bedroom, alone with a guitar. He was 12 when he picked it up, more out of instinct than ambition. “It was my refuge, a place I could speak without interruption,” he says.
By his teens, he was writing his own songs, crafting them first with voice and guitar before expanding into fuller arrangements thanks to collaborators from the Roman music scene. “I learned to trust producers who didn’t want to change me, but to understand me.”
Maida’s connection to performance goes even further back. As a child, he studied musical theatre, and in his teens found himself on international movie sets, including a major role in Club 57, a Nickelodeon series filmed between Miami and Italy and distributed in 28 countries.
“That experience changed me; I saw how emotions are universal. Whether you’re in Naples or New York, a teenager feels heartbreak, hope, confusion. The language changes, the feeling doesn’t,” he says.
He also appeared in well-known Italian TV productions like Nero a metà, and
national advertising campaigns. But despite the screen success, it was music that called him back, again and again. “There’s something about a song that no camera can capture. When someone listens to you on headphones, you’re closer than any scene on TV. You’re inside their world.”
Maida lyrics aren’t generic or follow trends. Each track is an emotional timestamp—personal, raw and true. “Sometimes it’s something I lived. Sometimes it’s something I saw and couldn’t ignore.”
His EPs My Identity and Nei e Tatuaggi are both full of stories, not only about himself, but about his generation. The tension between belonging and alienation. The ache of adolescence. The inner wars waged quietly in school corridors or scrolling through social feeds.
Lorenzo Maida on the set of Club 57
“I feel like many young people don’t feel at home in their own world,” Maida says. “Music is where I try to create that home. Or at least, a window.”
He’s released over 15 tracks so far, available on Spotify under names like “Maida”, “Maida Volo”, and “Maida Criceto”. His most recent release, “Criceto” (which means “Hamster”), is an existential metaphor wrapped in lo-fi melancholy. He sings: “You run in circles, but if you make the circle yours, it becomes something unique.”
In an age dominated by algorithms, quick fame, and auto-tuned perfection, Maida stands quietly on the other side favouring emotion over strategy, fragility over image.
“I’m not interested in doing what works,” he says. “I’m interested in doing what’s true.”
He’s aware of the risks. He’s seen others sell out or burn out. “But if just one person feels less alone after hearing one of my songs, then it’s all worth it.”
This isn’t to say he’s not professional. Maida is meticulous about his sound, his visuals, his lyrics. But every deci-
sion is filtered through one principle: authenticity. “If it doesn’t feel like me, I won’t release it.”
The future is unwritten but in motion, and, like many artists, Maida is cautious about revealing too much about what’s next. “I’m working on new music,” he smiles, “but I’m superstitious.”
Still, you can sense he’s excited. He talks about future collaborations, new textures he wants to explore, maybe even live performances that blend music and visual storytelling. But the details are vague, not out of secrecy, but because he doesn’t want to rush what’s still taking shape.
“I trust the process,” he says. “Songs come when they’re ready. My job is to be ready to receive them.”
What sets Maida apart isn’t just talent— though he has that in abundance—it’s the way he uses music as both a mirror and a bridge. A mirror because his lyrics reflect real, messy, tender truths that many feel but few say. A bridge because through that reflection he offers connection, a sense that we’re not as alone as we think.
“In the end, I just want to tell the story of someone who passed through this world, who tried to understand it, and who left behind some songs to help others feel seen.”
You can find Maida’s music on Spotify under “Maida”, “Maida Volo”, or “Maida Criceto”. You’ll hear not just melodies, but memories. Not just hooks, but honesty.
So, next time you feel like a hamster on a wheel, or a dreamer with no map, climb—if only with your imagination— to the top of Gianicolo Hill. Press play, listen, and maybe, just maybe, see your world—and yourself— through Maida’s eyes.
DRAWING IDENTITY WITH HEART
THE ART OF BRANDING BETWEEN TWO WORLDS
by Giovanni Butera |
Images provided by Disegno
How one Italian migrant’s personal journey of identity, resilience, and creativity shaped one of Australia’s most trusted branding and design agencies. Marino Di Camillo shares how his migration story, cultural roots, and commitment to authenticity built a company that thrived through decades of change.
There’s an Italian word layered with meaning far beyond its literal translation: disegno. At once referring to “drawing,” “design,” and “intention,” it captures the essence of what Disegno was always meant to be—a practice rooted in purposeful creativity, visual clarity, and cultural depth.
The company’s founder, Marino Di Camillo, an Italian-born creative who migrated to Australia at the age of 12, began this journey not with a grand business plan, but out of sheer necessity.
“In the early ’90s, the recession hit hard,” he recalls. “I lost my job at an advertising agency, and I had to find a way to survive. A few people I had worked with—especially those at Leggo’s, where we had done branding for tomato paste and sauces— encouraged me to ‘go out on your own.’ So, I did.”
What began as Di Camillo Design quickly gained momentum. In 1995, he partnered with long-time collaborator and friend Alan Jane, and together they formed Disegno—a turning point that marked not just professional growth, but a deeper embrace of Italian heritage.
As a teenager in 1970s Australia, the founder, like many migrants, wrestled with his cultural identity. “When I arrived in Australia, I didn’t speak English. I didn’t want to be Italian. I just wanted to blend in.”
But life had other plans. Ironically, the very thing he once tried to suppress— his Italian heritage—became a unique asset in his professional life.
“When I started designing for Italian food brands, they appreciated my ability to intuitively understand their visual language. I didn’t have to explain the cultural subtext of red, green, white, or of rustic textures, or the romance
Marino Di Camillo
around food. It was in my bones.”
That understanding led to more clients in the Italian food and beverage sector, both established and emerging. Slowly, the founder began weaving his cultural identity into the DNA of the business.
The rebrand to Disegno—deliberately choosing the Italian word over a generic English descriptor—signalled that embrace. “In a way,” he smiles, “I stopped hiding and started designing with pride.”
While many agencies leaned into advertising, PR, and quick-win campaigns, Disegno carved out a niche in pure branding: name development, logo design, packaging, and long-term visual identity.
“We weren’t trying to be everything to everyone. Our focus was on essence— on helping brands discover who they were, what they looked like, and how they could speak visually. And we did it through design, not spin.”
From boutique wineries to national food chains, Disegno’s client base grew organically through referrals. Trust, personal relationships, and consistent delivery became the company’s quiet but powerful strategy.
The founder is quick to note that this wasn’t about ego or self-promotion.
“We didn’t enter any awards. We didn’t chase press. We focused on our clients. That’s why many of them have stayed with us for decades.”
The founder’s recent health scare was a turning point, a moment that forced him to confront both his mortality and his legacy. “I started asking myself: What happens to Disegno when I’m not here?”
The answer came through mentorship.
Aaron Turner, a long-time employee, had risen through the ranks to become a partner, embodying the very spirit of Disegno’s culture and commitment.
“It wasn’t about finding a clone of me,” he explains. “It was about ensuring that the culture—our sense of integrity, of listening to clients, of not overpromising—would carry on.”
Today, he plays a more advisory role, gradually stepping back from daily
operations while remaining a guardian of the brand’s spirit.
“It’s strange,” he admits. “You spend your whole life building something, and then you have to learn how to let go. But you also realise that if you’ve built it right, it can live without you— or at least, beyond you.”
Looking ahead, Marino sees both challenges and opportunities. Australian consumers have become
more design-literate. Visual storytelling is now a vital part of every brand's survival. But the Italian aesthetic— rooted in elegance, simplicity, warmth— still has a strong place in the market.
“In an age of AI, quick content, and digital noise, people still crave authenticity. They want to know that what they’re buying—and who they’re buying from—has a soul. That’s where Italian design has always excelled.”
He’s currently working with his business partners on a series of internal documents to codify the company’s design philosophy—not as a rulebook, but as a compass.
“You can’t replicate every decision or intuition I had. But you can preserve the way of thinking that got us here.”
At its core, Disegno is a story of belonging and resilience—of turning displacement into distinction, building something special from shared values, and building a bridge between two cultures. A business born not just from strategy, but from the heart too.
“Our journey wasn’t linear,” Marino says in closing. “But everything—the struggles, the identity crises, the lucky breaks—led to this. We didn’t just build Disegno. Disegno built us.”
From left to right: Alan Jane, founder Marino Di Camillo, and Aaron Turner
FUSING FASHION, COMMUNITY AND SUSTAINABILITY THE
ETHICAL MISSION OF GIOVANNI GIANSANTI’S JOKER
by Laura Giansanti| Images provided by Giovanni Giansanti
From a heartfelt tribute to a beloved pet to a movement for environmental and social change, Giovanni Giansanti is redefining ethical fashion. Joker is a clothing and accessories brand that turns every purchase into an act of environmental and social responsibility.
In the town of Rende, Calabria, Giovanni Giansanti balances a full-time role in pharmaceutical distribution with a passionate side project: Joker, a fashion brand that stands out from the rest for its ethical mission and heartfelt origins—it was founded in memory of
Giovanni’s beloved dog. With a portion of all proceeds going to charitable causes and a product line rooted in sustainability, Joker proves that fashion can be both stylish and socially impactful. Launched in 2018, the brand was born from affection and community spirit— Joker, the dog, symbolized loyalty, kindness, and protection—values that continue to shape the brand’s identity today. Joker is about more than just apparel; it is a movement. From the beginning, Giovanni made a pledge to donate 20% of all revenue to carefully selected charities. The charitable causes—ranging from animal welfare to environmental initiatives—are often chosen by Joker’s own community of followers via social media polls. Transparency is key: donations are confirmed by video, and proof of documentation is shared regularly with supporters.
Joker’s product range is as diverse as its mission. It includes t-shirts, sweatshirts, tracksuits, caps, sunglasses, water bottles, along with a unique line of organic honey and jams. Each item is produced with sustainability in mind, reflecting Giovanni’s deep concern for the environment, animals, and people in need. At the core of Joker are three individuals: Giovanni, the founder and creative force; Riccardo, the graphic designer behind the brand’s logo; and Davide, the illustrator who brings its visual identity to life. Their synergy, mutual respect, and shared vision keep the project moving forward with humour, enthusiasm, and purpose.
Giovanni Giansanti
One notable initiative launched by Joker was called “AAU”—Ambiente, Animali, Umani (Environment, Animals, Humans)—an attempt to create a grassroots network of awareness and action. Though halted by the COVID-19 pandemic, the ethos behind it continues to inspire future initiatives. Activities like cigarette butt clean-ups have shown how even small efforts can ignite community change.
Despite the time restraints of his main job, Giovanni’s ambitions for Joker continue to grow. He aims to expand the brand beyond Calabria, tapping into national and international markets. He is also exploring strategic partnerships—particularly with figures from the film industry—as potential amplifiers of Joker’s message.
Joker is a testament to how fashion can rise above trends. It’s a brand rooted in authenticity, driven by purpose, and fuelled by a community that believes in doing good. Every item in the Joker range—be it a hoodie, t-shirt, or jar of organic jam—is a tool for awareness, a statement of purpose, and a step towards a better future.
Environment-friendly
As Giovanni looks to that future, he envisions a brand that seeks to empower people, educate them, and, in essence, collaborate with them to make ethical choices in everyday life—proving that style and activism can walk hand in hand. His every endeavour reinforces Joker’s mission: to blend creativity with conscience. And at the heart of it all remains the spirit of Joker—the loyal companion whose memory continues to guide every thread and every act of good.
Laura, Giovanni and Gabriella Giansanti
tote bags are among Joker’s diverse product range
Via Crati,29 - Rende - Italy
Fiore a pois - Jokerclothing
ILLUMINATED BODIES, CONNECTED SPACES AND CONSCIOUS DESIGN
by Chiara Perego | Images provided by Chiara Perego
Salone del Mobile 2025 celebrated human-centered design through immersive installations, sustainability, and cross-disciplinary collaboration—exploring the deep connections between body, material, light, and space in a transforming world.
On 24 September 1961, a group of thirteen Italian furnishing entrepreneurs launched the first Milanese fair dedicated to furniture. Thanks to an inspired idea, it was called the Salone del Mobile right from the start. That inaugural edition welcomed 328 companies and was described by television reporters as “a packed exhibition of everything needed to make the home beautiful and comfortable.”
Over six decades later, Salone del Mobile remains a magnet for design lovers, architects, creators, and the curious public alike. Every April, it continues to transform Milan into a vibrant stage for innovation and creativity.
Thought for Humans was the title of a striking communications campaign launched by Dentsu Creative Italy for the 2025 Salone del Mobile, whose theme centred on Design, the Body, and Sustainability. At the heart of the campaign were five powerful photographs by American artist Bill Durgin, known for his work deconstructing and reimaging the human form. These are not your typical promotional images: they carry symbolic weight and reflect a deeper vision. Durgin juxtaposes human skin with light, wood, metal, fabric, and bioplastics to visually convey a harmonious relationship between sustainable materials and humanity. Rather than showcasing design as
static objects or pure function, the campaign emphasised its relationship with people—placing the human being at the centre. It explored the synergy between human intelligence and material intelligence, reflecting a contemporary dialogue between form, emotion and sustainability. But Durgin’s visuals were only the beginning. The 63rd edition of Salone del Mobile featured a star-studded lineup, including none other than Academy Award-winning director Paolo Sorrentino. He unveiled a sitespecific installation titled La Dolce Attesa (“The Sweet Wait”), a tribute to waiting rooms, which he described as “spaces that often risk becoming nonplaces.” In a press interview, Sorrentino explained how thoughtful design can
Paolo Sorrentino’s installation La Dolce Attesa
elevate transitional spaces—as found in airports, train stations, and hospitals— into meaningful experiences.
Supporting this idea, Maria Porro, president of the Salone del Mobile, emphasised the increasing attention design companies are giving to these in-between, often-overlooked spaces,
reflecting a broader shift in the design world.
Another highlight was American multidisciplinary artist Robert Wilson, whose background in architecture informed a powerful event at Castello Sforzesco. His piece, titled Mother, entered into a poetic dialogue with Michelangelo’s Pietà Rondanini, accompanied by the ethereal music of Arvo Pärt. This collaborative piece conveyed the transdisciplinary spirit of the event, blurring boundaries between design, art, music, and architecture. This sense of collaboration was echoed in the project The Skin I Live In, a partnership between Saba and Alysi, and curated by Studiopepe in collaboration with Around Studio. The multisensory installation integrated body, fabric and furniture to create a shared spatial experience. Installed in the Garden House by Alysi, this exhibition invited visitors to slow down and reflect on the interactions between surfaces—exploring the parallels between body and furniture, fabric and space, skin and surface.
Rather than spectacle, the installation underscored nuance: folds in textiles, curves in modular furniture, and how clothing can echo the rhythm of objects. At the centre was Saba’s Simposio—a modular sofa with soft, curved profiles designed to foster interaction rather than draw attention. The sofa served as both physical anchor and conceptual platform.
This year also marked the muchanticipated return of Euroluce, the biennial lighting exhibition. After a successful 2023 edition, it returned with 300 exhibitors—nearly half of them
American artist Robert Wilson with his collaborative artwork
Mother
Mother echoes Michelangelo’s Pietà Rondanini
from abroad. Lighting, once treated as an accessory, is now a protagonist in sustainable and integrated space design. It plays a central role in improving both quality of life and environmental awareness.
Euroluce featured masterclasses and workshops led by 20 international experts across fields like lighting design, architecture, science, biology, psychology, and anthropology—all working towards rethinking the future of light in meaningful, humancentered ways.
Outside the main fair, Fuorisalone 2025 adopted the theme Mondi Connessi (or Connected Worlds). More than a catchphrase, it was a powerful call for collaborative, generative design. It explored how design and artificial intelligence can create new ways for people to connect.
Connected Worlds invited people to reflect on how design weaves together nature and technology, tradition and innovation, the physical and the digital, different cultures, peoples and the environment. Framed as an agent of cohesion, the goal of this year’s Fuorisalone wasn’t only to impress or decorate, but to unite and foster cooperation in reducing our ecological footprint.
In the end, Milan Design Week 2025 lit up the city—both literally and emotionally. It wasn’t just about furniture or fixtures. It was about ideas, people, inventiveness, and connection. It was about showcasing innovations and new points of view. It was about learning, moving forwards, and forging breakthroughs for generations to come.
The Skin I Live In: a multisensory installation
The Skin I Live In: an installation exploring nuances in folds, curves, and surfaces.
FASHION & DESIGN
THE REVIVAL OF COSENZA VECCHIA FROM ABANDONMENT TO BELONGING
by Paola Bisciglia and Monica Florio | Images provided by Paola Bisciglia
Revitalizing cultural heritage strengthens community identity. In Cosenza, this renewal is transforming the city’s historic centre into a lively district for art, dialogue, and inclusion.
The historic centre of Cosenza—a labyrinth of medieval streets, aristocratic palaces, ancient churches, and fortresses—has long been admired as one of Southern Italy’s most beautiful old towns. Yet for many years, it was trapped in a narrative of decay and abandonment.
Locally known as Cosenza Vecchia (Old Cosenza), the label “old” often carried
connotations of neglect, relegating the district to a forgotten past. A modest restoration effort along Corso Telesio several years ago hinted at the area’s potential, but just beyond the main street, the contrast was stark—abandoned buildings, collapsed structures, and empty alleyways. Years of neglect left much of this extraordinary heritage in disrepair. Recently, however, a subtle yet powerful shift has taken place. People are increasingly referring to the district not as Cosenza Vecchia, but as the Centro Storico (Historic Centre). This change in language signals a deeper transformation: a reclamation of dignity, identity, and recognition of the area’s value for future generations. Today, new life is returning to the narrow streets. Small artisan shops, cozy pubs, boutique B&Bs, and local restaurants are gradually populating the area. These are more than signs of economic renewal—they reflect a reawakened bond between the city and its heritage, and where art and culture are playing an especially vital role. American artist Keith Haring once said, “Art is for everybody,” suggesting that it breaks down barriers of origin, background, and difference. This idea is manifesting beautifully in in the heart of historic Cosenza, where art has become a catalyst for social cohesion. Two inspiring projects— Ellebi Dimora d’Arte and Dimora Storica Giostra Vecchia—are redefining hospitality, culture, and community life in Cosenza.
Rosa Lorenzon, director of Dimora Storica Giostra Vecchia
Ellebi Dimora d’Arte: When Art Meets Hospitality
In the elegant 19th century Palazzo Lupinacci, deep in Cosenza’s historic centre, sisters Marilena and Claudia Sirangelo are composing a new chapter in their family’s legacy. As third-generation art gallerists, they envisioned a more intimate, interactive way to connect people with art.
“At our family gallery, La Bussola, many people would come, admire the artworks, and then simply leave. We wanted something deeper, something that allowed for real human connection,” explains Marilena Sirangelo.
Thus, Ellebi Dimora d’Arte was born, a unique space where guests live immersed in art, sharing rooms with artists-in-residence and engaging directly in the creative process.
“Recently, Calabrian artist Giovanni Fava stayed with us, creating a stunning layered paper installation. Guests could watch him work, ask questions, and witness art come to life,” recalls Marilena.
Choosing an old, partially abandoned building in the historic centre was intentional. “If it had been anywhere else, it wouldn’t have felt authentic to us,” says Marilena.
Despite the growing interest, challenges remain. “Tourism here is still very ‘touch and go’ [because] any visitors stay just one night. We often need to work hard to keep guests long enough to truly experience the richness of our city."
Yet the impact is undeniable.
Through their curated itineraries and immersive experiences, visitors leave with newfound appreciation—and enthusiasm—for Cosenza.
Ellebi Dimora d’Arte is more than a place to stay; it’s a vibrant, living project where art, hospitality, and history converge—drawing in locals and, importantly, welcoming tourists, art lovers, and the simply curious from near and far.
Dimora Storica Giostra Vecchia: Where History and Culture Embrace
Just steps away from Cosenza’s Cathedral and Teatro Rendano stands Dimora Storica Giostra Vecchia, housed in the stately 17th-century Palazzo Grisolia—a place once silent with age but now brought back to life through the vision of Rosa Lorenzon.
Facade of Dimora Storica Giostra Vecchia
An advocate for cultural renewal, Lorenzon undertook the restoration as a tribute to her late father, fulfilling a promise to help restore Cosenza’s historic centre. “Dreams are realities waiting for courage,” reads a note from her father’s diary, a phrase that guided her journey as she set out to turn her father’s dream into a reality.
Today, Dimora Storica Giostra Vecchia is a dynamic cultural hub, hosting a wide range of events: book presentations, art exhibitions, wine tastings, academic talks, and more. Its elegant rooms have welcomed judges, journalists, musicians, university professors, and artists of all kinds.
One particularly moving initiative was a fundraiser, co-organized with the
Consulta Intercultura Cosenza, to help an Afghan woman to reunite with her children, and escape violence and hardship.
Alongside hosting cultural and socially impactful events, the dimora also offers luxurious hospitality. Three beautifully restored suites—with frescoed ceilings, soft linens, and delicate scents of Calabrian bergamot and cedar— provide guests with an experience that blends elegance, tradition, and grace effortlessly.
A Model for Urban and Social Renewal
Ellebi Dimora d’Arte and Dimora Storica Giostra Vecchia exemplify how private initiative, fuelled by a passion for art and place, can become a powerful force for urban and social renewal. Through the courageous efforts of individuals like Marilena, Claudia, and Rosa, once-forgotten spaces are being transformed into places of beauty, dialogue, and shared memory. In their hands, art becomes more than decoration—it becomes a universal language, capable of bridging generations, cultures, and communities.
For Cosenza—and for many other historic cities—the challenge now is to build stronger networks around these grassroots initiatives, engaging institutions, government and corporate entities to amplify their impact. Only through a shared vision and coordinated strategy can the extraordinary potential of Cosenza’s historic centre be fully realized, establishing it as a cultural and tourist destination of international appeal.
Fragili Sospensioni installation by Calabrian artist Giovanni Fava
MAPPING VENICE’S LOCAL WATERING HOLES
by Claudia Goundar | Images provided by Claudia Goundar
From bacari to osterie, clamorous crowds spill onto slender calle and grand campi, juggling cicchetti in one hand and a spritz in the other. This is a part guide, part confession from an avid bacaro goer.
Eeiii raga, andar ai bacari!—Venetian for “Hey guys, let’s hit the bacari!”—routinely shouted after work, was an open invitation to join in the city’s cherished pastime of bar hopping. By 5 pm we became Pavlovian fiends, salivating for that first crisp sip of Aperol and a medley of cicchetti. The following is a hit-list of the osterie, campi, and classic bacari—once haunts of sailors and merchants—that we frequented on our daily pilgrimages.
Corner Pub Venezia
In Dorsoduro, just a stone’s throw from the Peggy Guggenheim Collection, stands the Corner Pub Venezia, bookended by an unnamed bridge and the Venier dai Leoni canal. For those of us interning at the museum, it was a rite of passage into the art of bar hopping. It quickly became our unofficial canteen—whether for a generous panino, a plate of pasta, or, more often, a €3 spritz accompanied by a battalion of cicchetti and mozzarella in carrozza. With limited outdoor seating, you can park yourself on the bridge steps—but don’t sit dead-centre, or you’ll be scolded by disgruntled pedestrians.
Campo Bella Vienna
Behind the bustling Rialto Market— where fishmongers sell seafood straight off the line—Campo Bella Vienna offers a low-key but no less lively hangout. A go-to for students, the square
is flanked by beloved bacari, including Bussola Cocktail Lab, Barcollo, and Al Merca. Seating is a choose-your-own-adventure: stoops, stone ledges, or nearest patch of canal-side pavement. There are plenty more waterfront bacari by the Eberia, where you’ll spot locals clutching spritzes, sitting on the gondola ports, and dangling their feet over the canal, while industrial-sized speakers blast Italian trap—Tedua, Anna, or whoever’s charting.
Cantine del Vino già Schiavi
Harking back to its sailor-serving days, Cantine del Vino già Schiavi is an undisputed bacaro veteran. Adorned with
Traditional Venetian cicchetti
antique frames and wine bottles lining the walls like an oenophile’s library, this part wine bar, part bottle shop near Ponte dell’Accademia retains local prices, despite drawing a steady crowd of clued-in travellers.
The cicchetti are mini marvels: salmon with mascarpone, tuna with radish, roe with cream and blueberry—yes, blueberry—are among a rotating cast of other inventive pairings. There’s no seating protocol: claim a ledge or lean into a corner.
Morion Laboratorio Occupato
Far from tourist-laden thoroughfares, Morion Laboratorio Occupato in Castello embodies the city’s scrappier, cooler, countercultural soul. This self-managed squat-meets-community-centre has been flying the flag for political resistance, grassroots art, and underground gigs since 1990—a riot of posters, slogans, and radical energy. With no real clubbing scene on the island, Morion fills the gap on Friday nights—morphing into one of Venice’s most spirited hangouts, with hefty pizzas for €6, carafes of wine for about the same, and local DJs or live bands taking over after 10 pm.
Il Paradiso Perduto
In Cannaregio, you’ll probably hear Paradiso Perduto before you see it. This
canal-side fixture on Fondamenta della Misericordia is part seafood trattoria, part live music block party. On weekends, a jazz or rock ’n’ roll band usually kicks things off, with tables being pushed aside and the street morphing into a dance floor.
Inside, it’s all exposed brick, mismatched chairs, and the kind of decorative chaos that somehow works. The food is pricey, but portions are generous, and the seafood holds its own against the city’s best. We’d hit this spot for ombre small pours of wine.
Adagio
Adagio pulls double duty as a café by day and a wine bar by night. Inside, it’s a snug little date spot—low lighting and refined ornaments. Outside, it’s a different story: groups of friends spill into the piazza, where the energy is decidedly looser and louder.
If you’re visiting the Basilica dei Frari in San Polo, swing by for a solid lineup of Italian craft beers, local wines, and cocktails—including a top-tier Hugo spritz—all at humble prices.
Osteria ai Pugni
Just steps from the Ponte dei Pugni, this rustic osteria is everything you want in a local haunt: low ceilings, wooden beams, a cicchetti counter working at warp speed, and a novel-sized wine list. Family-run and much loved, it serves staples like baccalà mantecato and meaty polpette. The snug interior inevitably gets packed, so if you’re here for aperitivo, claim a canal-side perch or a nearby ledge.
The golden glow from the front window gets you first—spilling onto the calle and pulling you inside, where pale yellow walls, potted plants, and a mishmash of decor feels like you’ve wandered into someone’s living room rather than an osteria.
Tucked quietly in Santa Croce, Osteria da Filo attracts an in-the-know crowd— students, locals, and backpackers. Patrons spill outside year-round, while inside, two cozy, lived-in rooms feature worn sofas, board games, and books—as well as a semi-circular counter showing off a rotating cast of cicchetti and pizzette.
Patrons spill outside year-round, while inside, two cozy, lived-in rooms feature wooden tables, worn sofas, board games, and books—as well as a semi-circular counter showing off a rotating cast of cicchetti and pizzette. Don’t leave without trying the Zaza cocktail (rum, fresh ginger, and lime).
Vino Vero
Solo vino buono (“only good wine”) is scrawled across the front window of Vino Vero. This sleek little spot, also on Fondamenta della Misericordia, is Venice’s go-to bar for organic and biodynamic wines, sourced across Italy and beyond with the refined senses of a seasoned sommelier.
The cicchetti are as gourmet as they come: gorgonzola with honey and walnuts, anchovies with olives and pesto, red onion with variations of cheese and a drizzle of balsamic. The combinations are elevated, but never preten-
tious—just like the wines: funky, fresh, and poured by people who know their stuff.
Campo Santa Margherita
By day, this long, irregularly shaped square is lined with casual bars and pizzerias that are budget-conscious and family-friendly. By night, it becomes a sprawling open-air party and university pub crawl, with a crowd that skews young and broke.
Campo Santa Margherita is one of the few places still awake past 9 pm, thanks to the nearby university. It’s lined with lively, no-frills spots where locals grab a spritz: Red Cafè, Skillà Bar, Cafè Noir and Orange—home to Thursday night karaoke, and with a beer garden out back for when your vocal cords give out.
Osteria da Filo
TWO
GEMME
Soft Almond Biscuits
MAKES: 30 APROX
PREPARATION TIME: 35 MIN
As the name suggests, these soft almond pyramid biscuits are true jewels of Southern Italian baking. They’re perfect with coffee or tea, either for breakfast or as a sweet ending to a meal.
INGREDIENTS
460 g almond flour
380 g sugar
90 g egg whites
50 g butter
20 g honey
2 g baker’s ammonia (or baking
powder)
Icing sugar (for coating)
METHOD
In a stand mixer fitted with the paddle attachment (or by hand), mix all the ingredients until a smooth, uniform dough forms. Shape the dough into long logs about 2 cm thick, then cut into 3 cm pieces and roll each into a ball.
Roll each ball in a tray of icing sugar, coating generously. Transfer
to a baking tray lined with parchment paper. Using three fingers, gently press each ball to form a small pyramid, spacing them about a finger’s width apart.
Bake in a static oven at 180°C for 10–12 minutes, or until just set. Let cool completely before serving—and get ready to be amazed.
A TAVOLA
FROLLINI
Italian Shortbread Biscuits
MAKES: 30 APROX
PREPARATION TIME: 35 MIN
Known for their delicate crumb and golden finish, these classic butter biscuits are a beloved staple in many Italian homes— often enjoyed with a morning espresso or as a light treat any time of day.
INGREDIENTS
200 g butter
120 g sugar
2 eggs
320 g soft (low-gluten) flour
1.5 baking powder
Grated lemon zest or preferred flavouring, to taste
METHOD
Cream the butter and sugar with an electric beater until light but
still firm. Add the eggs one at a time, ensuring each is fully incorporated before adding the next. Stir in the lemon zest or your chosen flavouring.
Sift together the flour and baking powder, then gently fold into the mixture just until combined.
Using a piping bag fitted with a star nozzle, pipe small stars (about 2 cm diameter) onto a baking tray lined with parchment.
Preheat the oven to 200–210°C static or 180–185°C fan-forced. Bake for 10–12 minutes, or until golden and biscuit-coloured.
Let cool completely. Enjoy with coffee, tea, or your favourite drink—a little moment of Southern Italian comfort.
CRAFTED BY HAND, DRIVEN BY HEART THE ARTISANAL LEGACY OF NATURA DOLCE
by Alberigo Grassi | Images provided by Natura Dolce
What began as a humble village bakery in Italy’s Marche region has blossomed into Natura Dolce—an internationally celebrated symbol of Italian artisanal tradition.
In the heart of Italy’s Marche region, a rich culinary tradition rooted in passion and craftsmanship has flourished since 1983. It all began with a modest bakery run by two skilled artisans, serving local patrons and specialty retailers. Their dedication to quality and excellence quickly earned them a loyal following—and laid the foundation for what would eventually become Natura Dolce.
In 2018, when the original founders retired, I saw an opportunity not just to acquire a business, but to carry forward a legacy. I stepped in, eager to preserve their artisanal spirit and timehonoured techniques. With a vision to blend tradition with innovation, I launched Natura Dolce—a brand that respects its roots while embracing new possibilities.
One of the proudest expressions of this evolution is the “Morettone,” my creative take on the classic panettone.
In 2022, it received international acclaim, earning three stars at the Bellavita Expo in London and being named “Best Italian Product.” That recognition was a testament to our commitment to craftsmanship, quality, and imagination.
But Natura Dolce is about more than confections—it’s about creating sensory experiences that celebrate the depth and diversity of Italian culinary heritage. By combining traditional recipes with unexpected flavour pairings, we aim to delight discerning palates while staying true to the values that define our work. At
Natura Dolce, I strive to honour the past while reimagining the future. It’s a balance of heritage and innovation that I hope will continue to bring joy to generations to come.
I’m honoured that Segmento chose two of my delicacies to feature in A Tavola.
BUILDING BRIDGES WHILE BREAKING BREAD PANETTONE IN THE LION
CITY
by Agata Grimaldi | Images provided by Jahan Rezai
Founded by a mother-son duo, Jupiter 57 is an importer and distributor of Italian confectionery in Singapore. Their journey began with Panettone and stands as a testament to how persistence and passion can turn an unfamiliar treat into a local favourite.
Born to an Italian mother and an Iranian father, Jahan Rezai grew up in the UK before moving to Singapore with his family. In 2004, he began working alongside his mother Giuseppina Pravato at Jupiter 57 with one mission in mind: to introduce the iconic Italian sweet bread, Panettone, to the Singaporean market. But there was one major challenge—
most people had never heard of Panettone. Customers would often ask whether it was a bread or a cake, a seemingly simple question that revealed just how unfamiliar and foreign the product was to local consumers. Some even thought the family was a bit crazy for trying to sell it in the Lion City. The first hurdle for this mother-andson team was education. Giuseppina tackled it head-on, offering free samples at public events while sharing the rich Italian traditions behind the treat.
Today, Jupiter 57 is thriving and has expanded into neighbouring countries. According to Jahan, their success lies in the fact that they’re not merely selling food—they’re sharing Italian culture. That has always been their primary mission. They chose Panettone because it is a cherished Italian holiday treat, particularly at Christmas.
In Italy, Panettone is more than just a cake. Its distinctive dome shape is said to resemble a church dome, while its light, airy texture—in contrast to heavier breads—is achieved through slow fermentation, symbolising the virtue of patience and time. It’s typically shared among family and friends during the holidays, representing warmth, generosity, and the joy of Italian hospitality. The craftsmanship involved in making it reflects the pride and heritage of Italian culinary traditions, linking generations through festive celebration.
Building on the success of Panettone,
Jahan Rezai, seated within Jupiter 57’s showroom
Jupiter 57 now offers a curated selection of other authentic, traditional Italian confectionery. In an age of mass production, they are highly selective— each product must be handmade or come with a significant history. Their goal is simple: to ensure customers are purchasing a genuine taste of Italy. Their commitment to authenticity extends beyond the selection of products. At their showroom, customers are invited to sample the goods, enjoy a coffee, and engage in conversations about Italian culture. Jahan believes that building a personal connection with customers is essential. He takes pride in the fact that customers keep coming back and often recommend Jupiter 57 to friends. Jahan credits his mother for much of the inspiration and perseverance behind their business’s success. Despite early doubts from others, Giuseppina remained unwavering in her mission to share her heritage. Having left Italy many years ago, offering a piece of her culture to Singaporeans became a deeply personal and motivating endeavour.
Working alongside his mother taught Jahan the value of generosity and service. He adopted her practice of offering free samples, and now applies
those values with his own team, believing that sincerity and patience build a strong reputation over time.
Looking ahead, Jahan understands that introducing Panettone in other Southeast Asian markets will bring similar challenges. Cultural education and exchange will be a key strategy, supported by events and tastings to connect people through food. Reflecting on their journey—from a single product to an expansive range of Italian confectionery—Jahan offers this advice to new entrepreneurs: be patient and have a clear sense of purpose. Success often takes time, especially when introducing something new or unfamiliar, so never losing sight of your mission is essential.
Through Jupiter 57, Jahan and Giuseppina have brought a taste of Italy to Singapore, demonstrating how food can be a powerful medium for cultural exchange and appreciation. Their story is a compelling example of how different cultures can come together through something as simple as a slice of traditional sweet bread.
Giuseppina Pravato, the driving force behind bringing Panettone to Singapore
79TH FESTA
DELLA REPUBBLICA
ITALY AND AUSTRALIA CELEBRATE UNITY AND COLLABORATION
by
On 28 May, The Embassy of Italy in Canberra opened its doors to celebrate the 79th Festa della — Italy’s national day commemorating the foundation of the Italian Republic in 1946.
osted at the residence of H.E.
Ambassador Paolo Crudele, the event brought together diplomats, government officials, community leaders, and cultural figures to honour the enduring bonds between Italy and
A Celebration of Shared Values and
In his official remarks, Ambassador Crudele emphasised the richness of the Italy-Australia relationship, underpinned by the vibrant Italian-Australian
community and strengthened by robust partnerships across various sectors— particularly in scientific research and innovation. Of special note was the collaboration in aerospace research, where joint efforts have brought significant advances to both countries. The Ambassador also acknowledged the important role of institutions such as ICE (Italian Trade Agency), COMITES, and Co.As.It., whose work continues to reinforce cultural, economic, and educational bridges. Their committed efforts reflect the evolving and resilient partnership between the two nations.
Giovanni Butera | Images provided by Jamie Kidston
From left to right: Nicola Carrè, Raf Ciccone, Professor Edoardo Trifoni, Italian Ambassador Paolo Crudele, and Francesco GIacobbe
Honouring Italian Excellence Abroad
A key highlight of the evening was the conferral of the prestigious Order of the Star of Italy (Ordine della Stella d’Italia) to Professor Eduardo Trifoni, in recognition of his outstanding contributions to strengthening Italy’s international standing in aerospace.
Professor Trifoni currently serves as Director of the Space Test Program and Head of the National Space Test Facility at the Australian National University (ANU), where he is also Associate Pro-
fessor. In a brief interview following the award, he expressed deep gratitude:
“It is a great honour to receive this recognition after a career filled with both challenges and accomplishments. It signifies not just a personal milestone but a tribute to the shared scientific future of Italy and Australia.”
His professional journey began with pioneering research on hydrogen fuel cells—technologies that are now widely used in the automotive industry. He later specialised in hypersonics, focusing on atmospheric re-entry phenomena relevant to vehicles such as the Space Shuttle. He also worked extensively at Italy’s advanced SCIROOCO Plasma Wind Tunnel facility—the largest and most powerful of its kind in Europe— where he led engineering tests and research.
One of his landmark collaborations was with the European Space Agency and Thales Alenia Space on the IXV project: a space vehicle launched from French Guiana that almost circled the Earth in 100 minutes before landing near the Galápagos Islands. Speaking with optimism about the future of aerospace innovation, Trifoni noted:
“We’re getting closer to an era when the distance between Europe and Australia may be reduced to less than two hours of flight. These hypersonic vehicles, exiting Earth’s atmosphere and then re-entering, may soon make such futuristic travel a reality.”
Having relocated to Australia with his family after winning a competitive academic position at ANU, Trifoni praised the country’s meritocratic environment and the robust research opportunities it provides.
Professor Edoardo Trifoni
A Moment for Unity and Hope
The evening was also graced by speeches from Senator Raff Ciccone, Chair of the Australia-Italy Parliamentary Friendship Group, and Italian Parliamentarians Senator Francesco Giacobbe and MP Nicola Carè, each reaffirming the commitment to further strengthening bi-lateral ties.
A lighter moment added warmth to the occasion—both Senator Ciccone and Professor Trifoni are long-time supporters of Napoli Football Club, and they celebrated not only Italy’s national day but also their team’s recent Serie A championship win.
The evening concluded with a shared expression of hope for peace in the world. Dignitaries and guests called attention to the urgent need for diploma-
tic solutions in the ongoing conflicts in the Ukraine and Gaza. It was a solemn reminder that while we celebrate democracy and international friendship, the world continues to grapple with conflict and suffering—challenges that require unity, empathy, and collective resolve.
Looking Ahead
The 79th Anniversary of the Republic in Canberra was more than a ceremonial gathering—it was a powerful reminder of the strength that lies in cooperation, cultural diplomacy, and shared human aspirations. From aerospace innovation in the skies to community engagement on the ground, Italy and Australia continue to chart a path toward a future shaped by innovation, respect, and peace.
Professor Eduardo Trifoni receiving the Order of the Star of Italy from Italian Ambassador Paolo Crudele
ART THAT BRIDGES CONTINENTS, GENERATIONS AND MEMORY RAFFAELE MAZZA
DONATES ARTWORK TO THE CALABRIA CLUB OF MELBOURNE
by Donato Sposato| Images provided by Calabria Club
In a heartfelt gesture that bridges continents and generations, Melbourne’s Calabria Club has received a powerful emblem of Calabrian culture and identity: a striking artwork donated by Cavaliere Raffaele Mazza, a renowned artist whose work reflects a deep love for his homeland.
The artwork titled La Pacchiana – Pride, Prayer, and Labour, was donated by Cavaliere Raffaele Mazza, a celebrated artist and proud Calabrian, to Sam Sposato, President of the Calabria Club. Representing the Club at the official handover on 12 May 2025 was Dr Giovanni Butera, Head of Public Relations and New Projects. The initiative was proudly sponsored by Senator and Undersecretary of State, the Hon. Wanda Ferro, who was nominated and invited to serve as patron of the event by Raffaele Mazza. The donation forms part of a broader initiative titled Art ... the Beating Heart of the People—a cultural movement aimed at reconnecting communities through artistic expression. The event served not only as a tribute to the traditions of Calabria, but as a reminder of how art can bridge generations and continents, fostering a sense of belonging and continuity for Calabrians living abroad. La Pacchiana – Pride, Prayer and Labour is a life-size painting of a traditional Calabrian woman—an evocative symbol of identity, resilience, and femininity. The painting draws inspiration from the historical attire worn by women in the plains of Lamezia from the 1600s to the mid-20th century. These garments represented a rite-of-passage, marking the transition from childhood to adulthood and signifying readiness for marriage and full participation in community life.
But the work is more than a study of
La Pacchiana – Pride, Prayer and Labour by Raffaele Mazza
traditional costume. It is infused with iconographic elements that evoke Calabria’s physical and spiritual landscape—the Bastione di Malta, prickly pear cacti, and fields of red poppies—all emblems of endurance, strength, and rootedness. Through this tribute, Mazza honours a land that has faced adversity yet continues to thrive through the tenacity and pride of its people—both in Calabria and across the diaspora.
The Calabria Club, a cornerstone of the Calabrian community in Australia, welcomed the donation as a profound gesture of unity. In his message, President Sam Sposato noted that art such as this does more than enhance a space—it connects hearts, cultures, and generations, creating a bridge from the old world to the new, from Calabria to Melbourne.
Delivering President Sposato’s remarks at the ceremony, Dr Giovanni Butera emphasized the Calabria Club’s longstanding commitment to promoting Calabrian culture in Australia, noting that this donation further strengthens that mission. “This work allows us to rediscover and celebrate our origins,” he said, “and to share them proudly with future generations.”
The event is part of a wider campaign to promote Calabria’s cultural heritage both in Italy and across the Calabrian diasporas. Art ... the Beating Heart of the People aims to foster a deeper understanding of Calabrian identity— not only among Italian emigrants, but also among their descendants born and raised abroad.
A key objective of the initiative is to
promote a new form of travel— Turismo delle radici—“roots tourism”—which encourages second- and third-generation Calabrians to return to their ancestral villages and rediscover the land, language, and stories that shaped their families. The upcoming July exhibition of Raffaele Mazza’s work in Melbourne, along with the sale of limited-edition fine art prints to support cultural initiatives, forms part of this broader vision.
Speaking at the event, Senator Wanda
Dr. Butera (left) with the delegation accompanying Raffaele Mazza and event patron, the Hon. Wanda Ferro
Raffaele Mazza with his family
Ferro described art as the “beating heart of the people”—a force that not only reflects individual creativity but also embodies the shared emotional and historical experiences of a community. She emphasized that Mazza’s work transcends aesthetics; it speaks directly to the collective soul, stirring memory, pride, and belonging. “Art,” she said, “can awaken the soul and restore a people’s historical memory. It becomes a bridge between generations, allowing Calabrians in Australia to reconnect with who they are and where they come from.”
Mazza’s initiative is not limited to this single painting. It’s part of a wider cultural diplomacy project involving various local partners and institutions—
among them the PTP Rambaldi–De Fazio Institute, Il Balletto Dance School, and Don Pasquale Di Cello, who is organising a solemn commemoration of the Centenary of the Madonna del Carmelo of Sambiase, to be held in Melbourne on 20 July 2025.
Each of these collaborations reinforces the idea that cultural memory is not static—it is a living, evolving force, carried by people, honoured through ritual, and preserved through education and artistic expression.
In closing the ceremony, Cavaliere Mazza spoke movingly about the role of art as a universal language. “Art is not just personal expression,” he said, “it’s a vehicle to share our stories, our roots, and our deepest emotions.”
Through his generous donation and his ongoing efforts to connect Calabria with its global community, Mazza affirms that the Calabria Club of Melbourne is more than a cultural venue—it is a guardian of tradition and a space for renewal.
This event served as a powerful reminder that while art may begin in the hands of an individual, its true life lies in its ability to connect people, spark memory, and build bridges across time and distance. La Pacchiana now lives in Melbourne not as a relic of the past, but as a living testament to Calabrian identity, shared with pride by a vibrant community on the other side of the world.
In an age when heritage can easily be lost amid the distractions of modern life gestures like these serve as anchors— reminding us of the enduring value of tradition and cultural pride in shaping collective identity.
Calabria Club Melbourne: President San Sposato and Treasurer Frank Pancrazio shortly after receiving and unwrapping the precious gift
AGED CARE REFORM IN AUSTRALIA
A NEW ERA FOR SENIORS, BUT NOT WITHOUT CHALLENGES
by Luca Esposito| Images provided by Co.As.It.
Australia is undertaking a major reform of its aged care system aimed at improving quality, transparency, and client empowerment. Co.As.It. welcomed the reform’s intent but raised concerns about the pace of its roll-out, particularly for CALD communities. Following sectorwide advocacy, the government has postponed implementation to November 2025.
As the number of adults reaching retirement age continues to grow globally, so too does the demand for high-quality aged care services. While aged care systems differ across countries, four nations—Norway, Switzerland, Germany, and Canada—are widely regarded as global benchmarks for both excellence and client satisfaction. Australia’s forthcoming overhaul of its aged care system aspires to match the standards set by these leading nations. This once-in-a-generation reform, in-
troduced by the Federal Government, aims to resolve persistent issues around service quality, accessibility, and accountability. Prompted by the findings of the Royal Commission into Aged Care Quality and Safety, the new Aged Care Act adopts a rights-based, person-centred model intended to reshape the delivery and experience of aged care across the country.
A key feature of the reform is the introduction of a formal Statement of Rights, guaranteeing older Australians dignity,
autonomy, safety, and access to culturally respectful care. This is supported by strengthened Quality Standards and a revamped regulatory framework designed to enhance transparency and provider accountability.
The Support at Home Program will consolidate existing schemes into a unified, streamlined system. Providers will be required to register under a new tiered structure, determined by the nature and risk profile of the services they deliver. They must also meet enhanced financial, clinical, and compliance obligations. In addition, aged care workers will be subject to updated screening requirements, with services to be delivered exclusively by qualified and properly trained professionals.
Another central element of the reform is the shift toward greater consumer responsibility in managing care services. While this approach offers increased autonomy and could help reduce costs, it also places a significant burden on older Australians, particularly those less
equipped to navigate complex systems or coordinate services independently. This shift risks confusion and service gaps, especially for vulnerable clients. With providers restricted to retaining just 10% of a client’s budget for administration and compliance, there are concerns that essential wrap-around support may be compromised.
In this context, choosing trustworthy, community-based providers that prioritise care over profit becomes increasingly vital. These organisations are best placed to reinvest in service quality and ensure the needs of all clients are met, especially those from diverse cultural backgrounds.
Although the reform has been broadly welcomed for its ambition, it has also raised legitimate concerns, especially among organisations serving culturally and linguistically diverse (CALD) communities. As a key non-profit supporting Italian-Australians in Victoria, Co.As.It. Melbourne has cautioned against the risks of a rushed rollout. The organisation warns that inadequate preparation could disrupt service continuity and reduce access to culturally appropriate care, especially for clients who rely on bilingual and community-specific support. Needs that cannot be met through a one-size-fits-all approach.
Co.As.It. has therefore urged the government to implement safeguards that prevent large corporate providers from monopolising the system to the detriment of long-standing not-for-profit organisations, which have long been the foundation of Australia’s aged care landscape.
To ensure a smooth transition, Co.As.It. has also called for an extended imple-
mentation timeline. This would allow providers the necessary time to retrain staff, upgrade digital infrastructure, restructure governance systems, and adapt to new financial and regulatory requirements. The organisation is also advocating for funding models tailored to CALD communities, as well as meaningful opportunities for community input throughout the reform process. These concerns are shared by other major sector bodies, including Ageing Australia and the Retirement Living Council, both of which have called on the Federal Government to delay the rollout due to widespread uncertainty and concerns around sector readiness. Despite the challenges, Co.As.It. remains firmly committed to the reform’s goals and is actively preparing to support its community throughout the transition. Efforts are already underway to develop multilingual information campaigns and offer personalised consultations to help clients understand the upcoming changes and make informed decisions.
Above all, Co.As.It. continues to stress that aged care must remain focused on people—not profit. The success of this reform will ultimately depend on whether it places community, culture, and compassion at its heart. In early June, the Federal Government responded to these concerns. Health and Aged Care Minister Mark Butler, together with Assistant Minister Sam Rae, announced a postponement of the Aged Care Act’s implementation to 1 November 2025. The decision acknowledges the need for more time to ensure providers and clients are adequately prepared for the significant changes ahead.
This announcement was met with widespread relief across the sector and, most importantly, by older Australians. According to Co.As.It., the delay represents a meaningful achievement for all those who rely on aged care services and for those committed to protecting the wellbeing of our community’s most vulnerable members.
“This postponement is the result of Co.As.It.’s determined advocacy to protect the rights of senior Australians and ensure the continued delivery of high-quality aged care services,”said Marco Fedi, CEO of Co.As.It. Melbourne.
SOCIAL COHESION, UNITED IN DIVERSITY A LENS ON HARMONY THROUGH
FASHION
by Giovanni Butera | Photography by An La
Segmento’s cover captures the power of fashion as a force of social cohesion. Photographed by An La of AJ Co Photography and styled by BirdSkin, it celebrates cross-cultural creativity— expressing a deeply personal story of resilience, integration, and artistic unity.
In a world grappling with division, Segmento’s new edition dares to shift the focus to what brings us together. Our theme, “Social Cohesion, United in Diversity,” is more than a slogan; it’s a statement of belief. It recognises that true strength emerges from the fusion of identities, stories, and talents—and few mediums express that fusion more vividly than fashion.
Fashion is, by nature, a canvas of in-
fluences. In Australia, it evolved into a reflection of migration, memory, and multicultural aesthetics. The textures of Vietnam, the embroidery of Pakistan, the precision of Chinese design, and the bold simplicity of modern Australian style can—and often do—coexist within a single outfit.
Our cover brings this truth to life: a model draped in the imaginative couture of BirdSkin, captured through the lens of An La, a Vietnamese-Australian photographer whose personal story is as layered as the fabrics he photographs.
Arriving in Australia in 1982 as a 15-year-old refugee, An La’s journey started not in a studio but on a boat, fleeing Vietnam with survival as his only hope. After reaching Malaysia, he was eventually sponsored by an uncle to start a new life in Australia, initiating a long process of cultural integration. As the only Vietnamese student in his class at school, An found himself surrounded by peers of Italian, Polish, and Anglo-Australian backgrounds—an early immersion in multiculturalism that would deeply shape his worldview. A natural observer, An La was captivated by the interplay of light and shadow. He studied at The Melbourne School of Art and Photography under renowned educator Robert Gill, immersing himself in chiaroscuro, form, and classical composition. For over a decade, he pursued a career in architectural illustration before eventually returning to a childhood passion for photography. But this return wasn’t a solo journey. In
2011, alongside his Chinese-Malaysian creative partner, Jerry, he co-founded AJ Co Photography—named after the initials, An and Jerry—and this partnership became a living metaphor for Australia’s multicultural fabric: different origins, united by a shared vision. Segmento’s cover is born from one such similar creative convergence: BirdSkin & AJ Co Photography.
BirdSkin, the visionary fashion brand featured in the shoot, is co-led by Ali, of Pakistani heritage, and Luc, an Australian designer. Together, they create garments inspired by birds—fluid, feathered, fierce—blending the intricacy of Middle Eastern craftsmanship with the sharp edge of contemporary couture. Their designs don’t just clothe the body—they tell stories.
An La discovered BirdSkin through social media and was immediately drawn to their bold aesthetic. “It was their use of colour and structure that caught my eye,” he says. “Each outfit was like a sculpture—alive, cultural, fearless.”
The shoot was more than an artistic collaboration—it became a snapshot of contemporary Australia. A Vietnamese-Australian photographer teamed with a Chinese-Malaysian creative partner to capture garments designed by a Pakistani-Australian and an Australian team, worn by a model styled with impact and grace.
“Working with BirdSkin was a reminder of what creativity can be when we bring our whole selves—our heritage, our aesthetics, our ideas—to the table,” An reflects. “It was an honour to photograph pieces that are not only beautiful, but rooted in identity.”
The garments themselves—one of
which graces our cover—are a masterclass in multicultural storytelling. BirdSkin’s signature style blends traditional embroidery with avant-garde silhouettes, marrying past and future, East and West. As An’s camera captures the folds of fabric and glints of jewellery, what emerges is more than fashion—it’s a declaration: we belong here, together.
For An, Melbourne has long been a microcosm of global influences. He notes how food, fashion, and art have become the everyday expressions of multiculturalism. “Melbourne isn’t just where different cultures live—it’s where they meet,” he says. “Social cohesion isn’t about uniformity. It’s about resonance. Fashion makes that visible.”
The cover image was chosen for its ability to balance elegance with emotion. Set against a decorative backdrop, the model’s stance is proud, grounded, and
U ndercover
forward-facing—a symbolic pose for a nation built on layers of migration, resilience, and cultural fusion. An La’s use of light evokes the chiaroscuro techniques learned from his fine art training, highlighting contrast while connecting form to feeling.
Every detail in the frame tells a story: the glint of an earring, the gentle rise of embroidered feathers, the model’s confident gaze, the harmony of colour and cut. This isn’t just a photograph— it’s a celebration of who we are becoming.
As Segmento continues to explore Italian identity in dialogue with global culture, this edition—and this cover— serve as a reminder: identity is not static. It is woven. It shifts, overlaps, learns, and grows. Through people like An La, Ali, Luc, and Jerry, we see that social cohesion isn’t a policy—it’s a practice It happens each time artists collaborate across cultures. Each time a story is shared. Each time beauty is made in the space between worlds
Model: Jade Smith — www.instagram.com/jadecarliesmith/ Designer and Styling: Birdskin (Ali and Luke) — www.instagram.com/birdskinau/ Hair and Makeup artist: Andrea Hall — www.instagram.com/hairandmakeupbyandi/ Nails by Tracy G. — www.instagram.com/nailsbytraceyg/
COVER PHOTO
An La
An La (AJ Co Photography) is a passionate and highly talented photographer known for creating powerful imagery that evokes emotion and tells compelling visual stories. With a background in fine art and a self-taught journey in photography, An brings a unique perspective to his work, marked by a keen eye for detail, masterful use of light, and a deep sensitivity to composition.
Originally from Vietnam, An arrived in Australia as a young refugee and later discovered photography as both a creative outlet and a tool for connection.
Influenced by fine art studies and extensive experience in working across multicultural environments, his work reflects a rich tapestry of cultural influence and human experience.
Specialising in portraiture, conceptual art, fashion, e-commerce, and documentary photography, An approaches each project with authenticity, curiosity, and a relentless pursuit of emotional depth. His work is not only technically precise but also narratively rich—each frame inviting the viewer into a quiet, intimate moment.
Over the years, An has collaborated with a wide range of artists and clients. His ability to draw out raw, honest emotion has earned him recognition as a master of light and feeling. His accolades include a Silver Award in Fashion Press at PX3 – Prix de la Photographie Paris, an Honourable Mention at the Tokyo International Foto Awards (TIFA), and features in multiple editorial publications and magazine covers.
Whether working on commercial shoots or personal artistic explorations, An La’s photography is rooted in authenticity, emotion, and the beauty of human connection.
I’m a journalist and freelance writer for Segmento and Urban List, with other local and international bylines. I write about everything from culture and fashion to food, politics, and travel. I’m also a Master of Journalism student at The University of Melbourne.
My journey with Italian has been quite a tempestuous one.
“Claudia, devi imparare l’italiano,” my nonna would often scold me, exasperated that I couldn’t respond to her—nor keep up with Montalbano.
“I’ll pull my socks up when I need to,” my Year 9 Italian teacher reminded
me I said during my rebellious teenage years—fuelled by my mum guilting me to study Italian— and I determined to protest with total apathy. But it was the untranslatable idioms, the theatrical sass I couldn’t quite replicate in my mother tongue, and the blend of romance and passion in every sentence that started to define my love for the language.
I went on to major in Italian Studies and Media & Comms at university, then ended up living in Italy for two years— first through a language scholarship in Perugia, where I lived in a monastery, then on exchange in Trento. Attenzione: Northerners don't put sugo on polenta— (my mother’s family comes from the South).
That itch to return never really left. A year later, I landed a scholarship internship at the Peggy Guggenheim Collection in Venice, then fulfilled my dream of living in Florence with an editorial gig at The Florentine. My passion for writing and language has taken me across the globe—including a two-month stint in Indonesia, where I reported on the plight of refugees for Project Multatuli and learnt Indonesian. When I’m not typing away at a keyboard, I’m sewing clothes, cooking, travelling, or putting pen to paper in my journal— which, one day, I’d like to transform into a travelogue/memoir.
U napologetics
Il violino svelato. Storia, tecniche e segreti della liuteria italiana da Stradivari a oggi by Roberto Messina
S coperta
This book-length interview between journalist Roberto Messina and master luthier Stefano Trabucchi explores the history, techniques, and enduring legacy of Italian violin making, from Stradivari to today’s Cremonese masters. It also discusses the recent restoration of a Stradivari cello from the Accademia Chigiana collection in Siena.
We recommend it because…
It offers a fascinating journey into Italian violin making, blending history, craftsmanship, and passion. Through an insightful dialogue between Messina and Trabucchi, readers uncover the secrets behind Stradivari’s legacy and modern Cremonese excellence. Every nuance of string instrument construction echoes a tradition that dates back to the 16th century.
Ondazzurra Sul mare luccica…
Reflections of Italy in New Zealand Literature with Antonella Sarti Evans and Carla Rotondo
This is a first episode of new series on the Ondazzurra podcast exploring the representation of Italy and Italian culture in New Zealand literature, poetry, and screen production. Antonella Sarti Evans and Carla Rotondo discuss the novel TU by Māori writer Patricia Grace.
We recommend it because…
This episode offers a cross-cultural perspective on history and literature, revealing deep human connections forged during wartime. TU follows the 28th Māori Battalion in Italy during the Liberation, highlighting the cultural ties formed between Māori soldiers and Italian families—bonds of friendship and solidarity that endure to this day.
Maidentity by Maida
Maidentity is the 2022 album by Italian actor, model, and singer Lorenzo Maida—better known simply as Maida. As the title suggests, the album offers an exploration of identity through song, blending intimate reflection with universal resonance.
We recommend it because
Identity is often seen as a certificate of consistency or a badge of belonging, yet Maidentity brings it back to its most authentic essence: an inner mirror—a fluid expression of who one truly is. This album is a personal manifesto, where music becomes the language for what labels can never contain.
