Pink (February 2020)

ISSUE182∫FEBRUARY2020

MOTHER CONTINUES DAUGHTER’S DANCE LEGACY

TAKING HER LAST PRODUCTION TO LONDON STAGE

Maltese woman power

ILLUSTRATED IN A CHILDREN’S BOOK

A TRIP TO THE PERFUME CITY TO MAKE POTIONS OF LOVE

TWO DEDICATED HORSE LOVERS FINDING HAPPY HOMES FOR THESE UNWANTED ANIMALS

INSIDE

February 2020

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FEATURES 10 ArtyFacts my daughter dances on Mother takes late flamenco star’s dream to London stage 16 LifeStyle a second chance in life The ladies behind Rehome a Horse 18 PrivateEye different is normal Blurring the lines between ability and disability

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FASHION 27 ShowStopper wild & free A wardrobe for warm winters

REGULARS 7 EditorsNote 8 MailShot 23 WomanKind a woman of letters Lucrezia Tornabuoni 35 TravelOgue your perfume is your life partner A whistle-stop tour of fragrance making 43 ReadingRoom yes, maltese women are amazing Children’s book on brave females who have left their mark 49 SnapShot 30 years in the making Celia Borg Cardona

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COVER Photography Andre Gialanze ∫ Styling Marisa Grima [marisagrima.com] ∫ Hair Josephine Saliba from Screen Professional Hair Salon, Qormi ∫ Make-up Talitha Dimech ∫ Model Raissa @ Supernova MM, wearing jacket, blouse, culottes, all Oltre.

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EDITORSNOTE

With the New Year well under way and a serious case of moving from the frying pan to the fire unfolding before us, it is with a heavy heart that I realise I’m still singing the same tune – and it’s not a very lively one either.

As the country oscillates between scandals and inertia to address them and clean up its act, giving up and abandoning hope are almost the obvious course of action.

And that’s why I choose to salute here today those citizens who have never – not for one minute – cowered in the face of desperation and have continued to fight the fight, alone, forsaken, sometimes ridiculed and insulted, often taken for granted and not even tolerated.

From the wings, people talk calmly, knowingly and reassuringly about history repeating itself; about the ways of the world and the ‘consoling’ fact that the same is happening elsewhere; about the almost natural cycles and waves of political disasters and peace; and how the tide eventually turns.

But there is nothing ‘natural’ about the sea changes – cosmetic

as they may be at the same time – that have swept the country over the last couple of months. This is nothing but the work of human hands. Having witnessed the action of the few members of civil society, who have taken to the streets since 2017, there is nothing effortless, expected and regular about any positive changes that may have come about.

Things do not just fall into place because that’s just the way the cookie crumbles. Things have started to shift only as a result of this handful of people – this civil society group, with unique and admirable traits few possess; who have such drive to right the wrong; who are, ultimately, so selfless; and who are guided by an unstintingly strong sense of values that is so lacking these days.

People may snigger at their small numbers and try to belittle those who are part of such an ‘insignificant’ group, while others can rest assured that nothing and no one will put them off their path to justice. Either way, they have often been left to their own devices.

We sit on our sofas, nursing a cold, unable to brave a protest in order to recover, and we watch them on our TV screens, wrapped up and yelling those words we so much as whisper under our breath from the comfort of our homes. We look on in appreciation… and we proceed to leave it up to them; to let them do the job.

So, in recognition of the times we were not there, Malta’s leading magazine for women takes the

opportunity to salute and thank these people. And we are proud to feature a couple of the female activists in this issue of Pink – albeit for their other creative accomplishments, such as art and literature, which they have also, however, managed to use to continue sending a strong message.

In SnapShot on page 49, we meet contemporary artist Celia Borg Cardona, whose fight for justice for Daphne Caruana Galizia has also been expressed in her works and has shaped her art of the last couple of years.

The assassinated investigative journalist – and now those who had a doubt as to who had a hand in her murder can let that one lie – also features in a book about Amazing Maltese Women by [activist] Kristina Chetcuti, illustrator Marisa Attard and graphic designer Faye Paris.

In ReadingRoom on page 43, they talk about the most emotional part of the book – writing about and illustrating Daphne, who has touched their lives immensely and was the first on their list of women who have shaped Maltese society.

It is with satisfaction that our stories – interesting in their own right and born from more mundane motives, such as the launch of a book, or the opening of an exhibition – also continue to shine a spotlight on issues we have taken to heart and will continue to highlight in our own small way year after year – and even another after that!

February 9, 2020 ∫ Pink is a monthly magazine ∫ Issue 182 ∫ Executive editor Fiona Galea Debono ∫ Publisher Allied Newspapers Ltd ∫ Printing Progress Press Ltd ∫ Production Allied Newspapers Ltd ∫ Contributors Adriana Bishop, Kristina Chetcuti, Mary Galea Debono, Talitha Dimech, Andrea Faye Christians, Iggy Fenech, Marisa Grima, Josephine Saliba ∫ Design Manuel Schembri ∫ Photography Darren Agius, Nikki Arnett, Jonathan Borg, Andre Gialanze, Brian Grech, Chris Sant Fournier, Darrin Zammit Lupi ∫ Advertising sales Veronica Grech Sant [2276 4333; veronica.grechsant@timesofmalta.com].

THIS PUBLICATION IS BEING DISTRIBUTED AS PART OF:

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© 2020. All rights reserved. Reproduction in whole, or in part, without written permission of the publishers, is prohibited.

Pink February 2020 ∫ 7

MAILSHOT

THE LETTER THAT TICKLED PINK NOT QUITE CUT OUT Dear Editor, the December issue was amazingly varied, and I so enjoyed reading it during the Christmas season. I never miss Mary Galea Debono’s women who made history [The Agent, WomanKind]; they are always so well researched and well written. The Hobo Evangelist [LifeStyle] was such an unusual story of a young woman whose life was turned around 180 degrees, and who seems to have found such peace and scope in life. What impressed me most is the fact that she was prepared to leave her well paid job, her comfort zone and family to take her newfound faith in God to others; a true modern-day missionary! Well done Antoinette Sinnas for your flair in making your different topics a good read. Adriana Bishop’s article The Princess of Ballet [ArtyFacts], besides being so well written, brought back so many fond memories of my cousin, my sister and I attending lessons at Princess Poutiatine. I think I loved her so much that I used to follow her around and always got out of the position she put me in, so after a year of her being extremely patient with me, she very politely suggested to my mother that perhaps, unlike my sister, I was not quite cut out to be a ballerina!

I wish you and all your readers a blessed year ahead, and I know that we will have many interesting pieces to look forward to.

VICTORIA GRECH, VIA E-MAIL

The writer of the letter of the month wins a Gucci Bloom Acqua Di Fiori 50ml eau de toilette exclusively distributed by SV Beauty, a member of VJ Salomone Group of Companies; and a gift box of the award-winning home-made and exquisite Gee’s Jams.

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LETTING IT FLOW Dear Pink, I was invited by a friend to attend The Pink Fashion Show, which, I must say, I really enjoyed, and this got me curious about the magazine Pink. It is easily accessible to me as my mother is an avid reader and always leaves it running around the house. An interesting read was the article A CrueltyFree Closet [FashionStory, December 2019]. It is good to know that awareness of animal cruelty has reached this level.

Let Your Skin Glow this Christmas [BeautyParlour] was another interesting read, with free and also environmentfriendly, good advice. But the article I liked most was Perfect Periods [InThePink] because I was not aware that this topic was still taboo. How I admire Kiran Ghandi for running the marathon literally letting it flow! I feel that even though we have advanced so much in many topics, there is still a long way to go regarding periods and it’s up to us girls to make it happen. Thank you for the opportunity.

ENYA CASSAR, VIA E-MAIL

A COLOURFUL MAGAZINE Dear Pink, I am an avid reader of the magazine. The articles are very interesting and so is the photography. It is a colourful magazine. An article that touched me was the one about autism, The Other Side of the Spectrum [Private Eye, June 2019]. Unfortunately, in Malta, a mental condition is a stigma and people can suffer social isolation, although in this case, the person diagnosed with autism later challenged her situation and let’s nothing stand in her way. Articles on fashion and other subjects all interest me. The story on Home Birth [LifeStle, June 2019], although risky, is also something beautiful at the same time.

HELGA MAYO, FROM TA’ GIORNI

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ARTYFACTS

MY DAUGHTER DANCES ON

Seven years after her untimely death, flamenco star Sharon Sapienza’s dream to take her biggest production to the London stage is coming true. Her mother, Edwige, widowed shortly after she lost her only child, talks to ADRIANA BISHOP about how she took the plunge to carry on her daughter’s legacy to ensure her spirit dances on… and what this means for the Maltese girl who was adopted by Spanish dance.

Edwige Sapienza adopts her daughter’s dream.

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ARTYFACTS

“EDWIGE DECIDED TO POUR HER SOUL AND HER LIFE SAVINGS INTO FULFILLING SHARON’S GOAL. AND IT IS CLEAR FROM SPEAKING TO HER WHERE SHARON HAD INHERITED HER DRIVE AND AMBITION FROM”

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t would be no exaggeration to describe Sharon Sapienza as “unique”. And no one who knew her would dispute that. If anything, it could be considered insufficient to stop there for she was truly one of a kind.

Sharon packed her short career as a flamenco dancer, choreographer, producer and director with passion and dedication for the art of Spanish dance, leaving a legacy of dancers, musicians and artists, who owe her their fame and won’t forget her support and inspiration.

It is exactly seven years since Sharon’s light suddenly went out quite unexpectedly at the age of 38. She was at home recovering from a heart operation and was on the phone discussing a press conference for an upcoming performance she was producing. She had just overseen the Spanish tour of her most ambitious production, a project that had taken four years of research and work.

An overseas tour was in the pipeline and her ultimate dream was to see it staged in London. But she would not live to see that happen.

After a tribute performance in Madrid nine months after her death and then in Malta on the first anniversary of her demise, the costumes for Mu-Danzas Boleras 18122012 were packed away in Seville, her adopted hometown for the last 20 years of her life, for what was thought to be the last time.

However, with the same steely determination and passion that had been so evident in her daughter, Sharon’s mother Edwige is now bringing Mu-Danzas Boleras back to life with a one-off performance on the prestigious stage of the Peacock Theatre, Sadler’s Wells’ West End venue in the heart of London, on April 19.

Having lost her only child and then widowed just two years ago, Edwige decided to pour her soul and her life savings into fulfilling Sharon’s goal. And it is clear from speaking to her where Sharon had inherited her drive and ambition from.

“Mu-Danzas Boleras was an amazing project. It was the crème de la crème of her life,” begins Edwige, with evident pride and emotion.

After lying dormant for so long, the production will once again feature almost the entire original cast with two exceptions. “We met the dancers at the end of October last year. They were all in tears,” says Edwige. “It was a very moving reunion. They wanted to do the show for the love of Sharon. They were very close to her and they loved doing it for her.”

The project was a labour of love for Sharon, involving four years of research into the history of the Escuela Bolera style of dancing, with its intricate dance steps, graceful arm movements and the unique ability of dancing while simultaneously playing the castanets. This genre Pink February 2020 ∫ 11

ARTYFACTS Sharon in her flamenco dancing days.

of Spanish dance, derived from the Perciet family, dates back to the 18th century, fusing elements of selected regional dances with classical ballet.

The production is “a journey in time”, spanning 200 years of Spain’s dance heritage and featuring original music, inspired by 18th-century melodies.

“The music moves me a lot, especially the second part, which is all very fresh and contemporary,” says Edwige.

“While it was still being taught at the conservatoires, this genre of music and dance was not given enough importance to be produced as a show. It had to be Sharon, a foreigner, to put it together into such a production.”

Apart from re-awakening the spirit of Mu-Danzas Boleras, the performance also coincides with the fifth anniversary of the Sharon Sapienza Foundation, which Edwige had set up together with her late husband Frank and close friend Caroline Mattocks to promote and organise activities such as workshops and masterclasses on Spanish dance, with a particular focus on Escuela Bolera style. The foundation has so far awarded 16 full bursaries to enable Maltese dance students to further their studies in Spanish dance.

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Some members of the Sharon Sapienza Foundation: Deborah McNamara, Edwige and the late Frank Sapienza, Caroline Mattocks and Daphne Palmer-Morewood.

“I knew it was Sharon’s dream to take the show to London and it was my dream to see it staged there before I die,” continues Edwige, tears now welling in her eyes. “I wanted to watch it again. I had some money saved, and as I have no family left – my husband is gone; my daughter is gone – I decided to put it to good use to put up the show again.

ARTYFACTS

Scenes from Mu-Danzas Boleras.

“Stepping into the role of ‘producer’, I wonder how she managed to do it! We are five people and I often think how she did it alone… It may not be my line,” Edwige admits, “but the satisfaction is driving me and her passion for dance has come into me. She managed to transmit this to me.”

Those who knew Sharon, or had watched the show when it was last staged at the Manoel Theatre six years ago, already know what to expect. It will not just be as exhilarating as only Spanish dance can be, but also an evening of high emotion.

“That evening, I expect I shall feel good and happy that I have made Sharon’s dream come true as she had already said she would like to take it to London,” says Edwige. “It was also my dream to see it performed again.

I am quite sure it will all be very moving.”

Edwige poignantly reveals that after Mu-Danzas Boleras was performed in Malta in 2014, she had dreamt that

Sharon was sitting in one of the theatre’s boxes, dressed in one of her costumes. “She told me: ‘Thank you for doing the show’.”

Despite the fact that seven years have passed since her death, Sharon has not been forgotten by her peers either. “People still remember her very well,” continues Edwige. “She was unique. She was so dedicated to her job. Everybody loved her and everybody loved working with her. She always did things the right way.

She never let anyone down. When she passed away, all her paperwork was in order. She worked hard and made a name for herself. I am so proud of her.”

Edwige now hopes that the London performance in April would not necessarily be the last as she would love to see Mu-Danzas Boleras live on. “My next dream is to take it to America,” she declares. “I’m hoping that an impresario might come up with the idea of buying the show. But we only have one night.”

And she has even more plans for the future. “If I find the right building, I would like to open a Spanish cultural centre in Malta, where I can put all Sharon’s costumes and create a large library of books on flamenco to keep her legacy going.”

It’s an ambitious project for someone who only stumbled upon the Spanish world of dance because of her daughter. But resilience has been the name of the game…

“When she left Malta at the age of 17, I cried my eyes out,” Edwige recalls. “At the time, you had to take three planes to reach Seville from Malta via Rome and Madrid. In 1992, we had visited Seville just for a few days. We couldn’t speak any Spanish back then. We asked the Spanish embassy if they knew anyone they could recommend in Seville and the secretary said her mother kept students and suggested Sharon could stay with her for the first year. We are still close friends to this day.

“Sharon’s first year there was very hard. We had no mobile phones, no Skype. I used to cry a lot. I never realised she would be gone forever.

“The pain is in my heart all the time. Now I know what it means when they say your heart hurts and burns when you lose someone so dear. It is not easy.”

But still… the fighting spirit dances on. And there is one final project Edwige is hoping to realise; one her own daughter is urging her to do. “Eventually, I want to write a book about Sharon,” she reveals. “I already have all the material in a box.”

And Sharon has provided her with the perfect format.

“I dreamt about her when I was in Seville once and she told me: ‘About that book, get on with it! Get all my friends and people who knew me well in my career to write a couple of paragraphs about me and put it all together. That way the book will belong to everybody.” As always, Sharon remains generous in spirit.

Mu-Danzas Boleras will be performed on April 19 at 7.30pm at Peacock Theatre in London. Tickets from £20 can be purchased from www.sadlerswells.com. For further information about the Sharon Sapienza Foundation, visit its Facebook page.

Pink February 2020 ∫ 13

LIFESTYLE

A SECOND CHANCE IN LIFE ANDREA FAYE CHRISTIANS catches up with the ladies behind Rehome a Horse Malta to learn about their commitment towards the adoption of these unwanted noble animals.

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he Maltese have always been known as a nation of horse enthusiasts and, today, despite limitations of space and expensive upkeep, recreational horse ownership is more popular than ever. However, problems arise when these horses are no longer wanted and are in need of a new home.

Imbued with a love of horses by their mothers from an early age, Christina Coppini and Michelle Cachia Arnett are both owners of rescue horses and consider themselves fortunate to have had the chance to grow up caring and giving a second chance in life to these noble animals. However, their efforts to improve the plight of unwanted horses in Malta is no easy task.

available is limited. Also, a lack of regulations for care regimes/conditions for welfare only add to the problem.

In addition, some of these horses find difficulty in adjusting to the climate change and hot temperatures compared to their country of origin, further affecting performance and possibly health.”

Although many come from the racing scene, Michelle says there are also those who are not facing imminent slaughter. Indeed, many are well cared for and need rehoming for genuine reasons, but there are also a fair proportion that are on tight deadlines.

“The increase in pony imports, as well as local breeding, along with horses from the local competition scene needing rehoming, has led to an obvious plateau

in the number of people interested in or able to care for and adopt these horses.”

As a result, finding a permanent home in Malta has become increasingly difficult and has often led to heated situations and sleepless nights.

In an attempt to raise awareness, Christina and Michelle launched Rehome a Horse Malta [RAHM] in January 2015 as a Facebook group in the hope that they could make a difference.

“Despite the quick spread of this idea, five years on, we are still just that, with no premises, funds, registration, or NGO status,” Christina continues.

The initial intention was to create a platform where people from both sides of the coin could connect – with horse owners realising that alternatives to

“INITIALLY, WE DID NOT EXPECT TO HAVE SUCH DEEP INVOLVEMENT WITH EACH INDIVIDUAL ADOPTION, BUT PEOPLE QUICKLY BEGAN TO APPROACH US WITH INTEREST IN REHOMING AND ADOPTING ALIKE, AND MORE IMPORTANTLY, TRUSTED US TO MAKE AN APPROPRIATE ‘MATCH’, WHILE SAFEGUARDING THE INTEREST OF THE HORSES” The situation is nothing new; unwanted horses have always needed homes, but today, thanks to the efforts of people like Christina and Michelle, there is at least more awareness of what is going on.

“Horse imports are on the increase, with many bought after ending their racing career abroad, only to start a new one here. Naturally, these horses tend to have a relatively short race life since they are more susceptible to injury due to being older, along with wear and tear due to already having a history of racing,” Christina explains.

Inadequate facilities for racing and training locally don’t help the situation, while all too often, the medical care 16 ∫ Pink February 2020

Queen and Princess

Merlot

LIFESTYLE Christina Coppini and Michelle Cachia Arnett.

Photography Nikki Arnett

slaughter exist and people being encouraged to adopt.

“Initially, we did not expect to have such deep involvement with each individual adoption, but people quickly began to approach us with interest in rehoming and adopting alike, and more importantly, trusted us to make an appropriate ‘match’, while safeguarding the interest of the horses.”

Sadly, five years down the line, it appears as if saturation level has been reached in Malta. Fortunately, though, people from abroad have heard of RAHM and, to date, they have been able to send a few lucky horses to Scotland, England, Sicily, and very soon to Spain. However, funding such journeys is not easy.

“Last October, a mother and foal, Queen and Princess, were sent to the UK together. The original plan was to rehome the mare, not knowing that she was pregnant… She gave birth and by the time of the rehoming, she had a four-month-old filly at foot. This led to

a rethink of the plans as we were faced with the prospect of finding a home for not one but two horses, having decided against separating the mother and foal as it would have been too traumatic for both of them,” Michelle recounts.

The situation presented certain logistical problems, however, as foals are not often exported from Malta. But RAHM were determined and, eventually, were not only successful in overcoming all the obstacles, but also succeeded in getting the trip fully sponsored by the Hero Gaming Foundation. Thanks to their efforts, mother and foal are now living a great new life in Sheffield and RAHM is in regular contact with the new owners.

Merlot is another story. A 13-year-old French trotter, he had been let down several times and had had three adoptive homes, with his last owner just abandoning him. Although he is a lovely horse, there was no one interested locally in adopting him until a former rescue horse helper in Malta, who had

relocated to Spain, was willing to offer him a forever home. Thanks to RAHM raising awareness, funding was also found through donations, making this another story with a happy ending!

Looking to the future, the problems remain. The situation is certainly not set to get any easier in Malta and RAHM is continuing to look further afield to find homing solutions. But sending horses overseas is expensive and funding is a constant headache. Added to this is the stress of finding a place of refuge, or a foster home, with the clock ticking, which often means the difference between life and death.

But Christina and Michelle are undeterred and remain committed to RAHM and their cause of rehoming both here and abroad despite often seemingly impossible odds.

Follow RAHM on Facebook and on Instagram @rehomeahorsemalta. They can also be contacted on rehomehorsemalta@gmail.com

Pink February 2020 ∫ 17

PRIVATEEYE Maria Gauci Photography: Darrin Zammit Lupi

Different is normal

MAUREEN SAGUNA catches up with three persons with a disability going about their daily life. They come across as people with normal lives, relationships and plans for the future as opposed to disadvantaged individuals, or heroes who overcame adversity – and that’s the way it should be.

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aria Gauci, Maja Theuma and Christine Mifsud would appear to be ordinary human beings, going about their life and passions in photos by Darrin Zammit Lupi for an exhibition by the Commission for the Rights of Persons with Disability. As so it should be – in accordance with the aim of the CRPD’s campaign, Different is Normal, which was launched recently.

The idea is that although there are over 19,000 persons with a disability registered with the commission, they are largely absent from public life.

So, in a sense, its role is to increase the visibility of the disabled persons it represents and to blur the lines between disability and ability.

This idea has been captured and conveyed in a series of photos by

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Zammit Lupi of persons with a disability going about their daily life.

They are meant to show the subjects as people with normal lives, relationships and plans for the future as opposed to disadvantaged individuals, or heroes who overcame adversity. Each photo is a story in itself… but their own words speak as loud as their actions.

MARIA started dancing at the age of seven and has since been training in most types of dance, including jazz, contemporary, Zumba and ballet. Her enthusiasm for dance and movement seems to know no bounds and she is keen to keep learning and improving in the various dance disciplines she studies. Maria also happens to have Down syndrome…

“My favourite type of dance is jazz because I enjoy the movements

and fun choreographies,” she says, adding that she also enjoys contemporary dance, where she gets to express more emotions through movement.

Maria, who is currently training with the Special Olympics dance team, also trained in musical theatre through Artivisti, a programme by Arts Council Malta, which provides support and further training to young and aspiring artists. Musical theatre is, in fact, Maria’s greatest love and Mamma Mia is her favourite musical.

“My dream is to take part in the Special Olympics, and in pantomimes and musicals. I enjoy participating in most forms of dance and theatre,” she says. Considering Maria’s dedication to her sport and her strong work ethic, there is little doubt she will fulfil all her dreams.

PRIVATEEYE Maja Theuma

MAJA is a swimmer and is also reading for a degree in Business Enterprise. This is what defines her. Most of us would feel exhausted just thinking of all she fits in a day, but Maja, who is of small stature, takes it all in her stride.

“My passion for swimming started at a very young age when I used to go snorkelling with my father. At 15, my previous coach asked me to join the paraswimming team and it was then that I started to love practising swimming as a sport,” she says of her journey to becoming a semiprofessional swimmer.

After a three-year break to focus on her studies, Maja joined Exiles Sports Club last year and has since been training up to two hours a day, seven days a week, participating in big competitions both locally and internationally, such as Easter Meets, World Series in Lignano and

World Paraswimming Championships in London.

Juggling a schedule as busy as Maja’s takes discipline. “I believe that time management and prioritising help to balance things well,” she says, adding that there are times when she feels overwhelmed, especially during exam periods.

“There were times when I considered taking a gap year to dedicate more time to training, but thanks to the support of my coaches, family and friends, I decided to do both, as the success afterwards is very rewarding. I believe that swimming helps my well-being and alleviates my daily stress, and even though it is hard work, it helps me wind down from my studies.”

Like all athletes, she is also mindful of her health. “I don’t follow a particular diet but try to make sure it is balanced

and keep it as healthy as possible,” she says. “I normally eat lots of carbohydrates before training and protein afterwards.”

The future is looking bright for Maja, with two major goals on the horizon.

Her main objective right now is qualifying for the Tokyo Paralympics, which will be held in August and September this year. While representing one’s country on the world sports stage might not be in every 20-year-old’s plans, she also wants to graduate and get a driving licence next year.

“Being a full-time student and a parttime athlete requires a lot of sacrifice and dedication,” she adds. “But once I set my mind on something, I focus on that goal and work hard to achieve it.”

Pink February 2020 ∫ 19

PRIVATEEYE Christine Mifsud with her husband.

“TO THE UNKNOWING SPECTATOR, THEY LOOK LIKE A HAPPY COUPLE OUT ON A LEISURELY WALK… WHICH THEY ARE, EXCEPT THE DOG IS CHRISTINE’S GUIDE DOG DORA AND NOT SIMPLY A FAMILY PET”

Meanwhile, CHRISTINE Mifsud is captured strolling with her husband and her dog. To the unknowing spectator, they look like a happy couple out on a leisurely walk… which they are, except the dog is Christine’s guide dog Dora and not simply a family pet.

Christine lost her eyesight after giving birth to her now 20-year-old twin daughters and her first guide dog, Winnie, joined their family 10 years later.

Raising children is hard; raising twins even more so. What about raising twins at the same time as losing your eyesight? “It was shocking, but if it was not for the children, I would not have tapped into my survival skills. They were my reason for living and waking up every morning for many years,” she admits.

Caring for two energetic children was not easy, especially when it came to the bane of every parent’s existence: helping them with 20 ∫ Pink February 2020

homework. “However,” she adds, “I am proud to say that our normal is far from boring or mediocre.”

Christine lived the first half of her life without a visual impairment, so it took some time for her to accept her new normal and to adapt to it.

“It took a lot of patience from my husband and mother especially, who acted as my punchbags,” she says.

“Time is the best healer, and I knew I was back on track when I started to laugh at things that were supposed to frustrate me, like not recognising someone, sitting on someone’s lap in a waiting room, or grabbing someone else’s bag at the supermarket!”

These days, Christine is fully independent, loves socialising and meeting with friends and spending time with her husband and daughters. Her favourite season is summer, when she can kick back and enjoy a swim, and although she works at CRPD, she doesn’t rule out having her own business in the future.

Christine with her daughters and grandmother.

Her advice to anyone dealing with an impairment for the first time is to accept help and not to give up.

“Believing is achieving,” she says, and that is a motto all of us should live by.

The CRPD photographic campaign is being exhibited at the President’s Palace in San Anton and includes 12 activity shots showing persons with various impairments [ from spina bifida to hearing and visual impairments, ADHD, autism and Down syndrome etc…] engaging in a range of activities, including theatre, dance, gaming, bowling, gym and swimming. The series by Darrin Zammit Lupi represents the passions and aspirations of these persons.

A WOMAN OF LETTERS

Lucrezia Tornabuoni’s life story is not only a bridge that straddled the medieval world and the reawakening of the Classical past, but also an example of how an intelligent woman adapted to living during a transitional stage of history by preserving what was good in the old traditions and embracing new cultural shifts. MARY GALEA DEBONO finds that, in so doing, she contributed to the breaking down of barriers at a time where women had no voice.

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hroughout the 15th century, the Medici family wielded immense economic and political power in Florence, then the cultural centre of Europe. So extensive was their political clout that it is impossible to separate the history of the Republic of Florence from the narrative of the rise and fall of this illustrious family.

References to the more prominent male members, such as Cosimo de Medici, who consolidated the banking business, which was the source of their wealth, or his grandson Lorenzo il Magnifico, who not only built on it but through his patronage of the arts also contributed in no small way to the flowering of the Florentine Renaissance, have been the subject of innumerable studies.

The Medici women are given less importance than their male counterparts. This is not surprising since their roles were clearly circumscribed both by society in general as well as by the Church, as a result of which their education was often neglected. Thus, for example, in spite of the wealth and power of her husband, Contessina de Bardi remained a burgher’s wife all her life, perfectly content

Portrait of Lucrezia by the artist Domenico Ghirlandaio.

WOMANKIND world was coming to an end and a new era was dawning.

By 1482, the year she died, the reawakening of the Classical past, which had brought with it a new state of mind, had firmly established itself.

Lucrezia’s life story is not only a bridge that straddled these two worlds, but also an example of how an intelligent woman adapted to living during a transitional stage of history by preserving what was good in the old traditions and, at the same time, embracing the new cultural shifts, in so doing, contributing to the breaking down of barriers.

Lucrezia was one of 10 children of Francesco Tornabuoni, a prosperous trader, who could trace his lineage back 500 years, and Nanna Guiccardini, a noble woman. Having received the same education as her brothers, Lucrezia was highly cultivated and well-read in both Latin and Greek texts.

Initially, Cosimo de Medici had betrothed his eldest son Piero to another Florentine noble woman, but subsequently changed his mind in favour of Lucrezia, who, as the daughter of Francesco, one of his supporters and a good republican, was, for political reasons, a far better arrangement.

This, together with the fact that the Tornabuoni were an ancient Florentine family, made it a good match for the

“THE MEDICI WOMEN ARE GIVEN LESS IMPORTANCE THAN THEIR MALE COUNTERPARTS. THIS IS NOT SURPRISING SINCE THEIR ROLES WERE CLEARLY CIRCUMSCRIBED BOTH BY SOCIETY IN GENERAL AS WELL AS BY THE CHURCH, AS A RESULT OF WHICH THEIR EDUCATION WAS OFTEN NEGLECTED” with her limited status as wife of Cosimo and mother of his children.

The same, however, cannot be said for Cosimo’s daughterin-law, Lucrezia Tornabuoni,

who, although she held no official roles, managed to leave her stamp on the Medici story.

When Lucrezia was born in 1425 or 1427, the medieval

Medici, who had wealth, but not nobility. Years later, when Lucrezia and Piero had their own children, they went to great pains to improve not only their social status but Pink February 2020 ∫ 23

WOMANKIND also to forge important political alliances by ensuring that their children were connected by marriage to all the illustrious families of the different city states.

Piero and Lucrezia were married on June 3, 1444. They had seven children, four sons and three daughters. Before his marriage, Piero had had an illegitimate daughter, Maria, whom Lucrezia brought up as her own. Lorenzo, the best known of them all, was born in 1450.

Lucrezia’s life after she became part of the Medici family is well documented through the letters she wrote to members of the family – mainly her husband, her children and later her grandchildren – when she was away from home either on diplomatic missions, or taking the cures at the various spas and baths of the area. There were also her letters in reply to all those who either sought her help or her advice.

Because she was literate and well educated, unlike her mother-in-law, she wrote the letters herself and had no need to dictate them to a scribe.

Her letters are, therefore, more spontaneous.

About 500 of these have survived and they are a wealth of information about the writer and her times. In them, Lucrezia discusses domestic problems, her illnesses and ‘fevers’ – health-wise she was quite delicate – her clothes, the education of her boys and the choice of the best tutors for them.

Perusal of these letters also affords an interesting insight into the social life of the Medici household, as when she writes about the preparations for the festivities held in honour of Galeazzo Sforza, son of the Duke of Milan, who visited Florence in 1459. Such details are of great importance 24 ∫ Pink February 2020

because they provide glimpses into 15th-century Florentine society and help scholars to piece together an all-round picture of the era.

In 1464, after the death of his father, Piero assumed control of the business, which meant that he was often away on long trips and Lucrezia had to rely on correspondence to keep him informed about family and business matters.

One very important aspect of their marriage relationship emerges clearly from these letters; Piero was confident of his wife’s ability to manage his estates and watch over his business. He had no problem leaving his affairs in her hands.

She was capable not only of keeping accounts, but her tact and delicacy in dealing with subordinates were also a great asset. Whenever Piero went away, he knew he was leaving an excellent manager in charge.

Lucrezia was astute and not afraid of a challenge. She was clever enough to realise that a man in Piero’s position stood to gain from her backing. She understood politics and she kept up to date with current events by having regular correspondents, who acted in the same way as journalists, collecting

about the proceedings, assuring him that “if matters should come to nothing you are not involved”. Having made the final arrangements, she could not, however, resist adding that Clarice had passed the test “though she is not as sweet as our girls”.

Misfortune and sorrow do not spare anyone, and in 1478,

The fresco of Saint John the Baptist in the Church of Santa Maria Novella in Florence.

“FOR A WOMAN TO BE GIVEN SUCH AN OFFICIAL ROLE WAS UNHEARD OF IN THOSE DAYS; NO WOMAN HAD EVER ACTED AS AN AMBASSADOR AND CERTAINLY NEVER TO AN ALL-MALE COURT LIKE THE PAPAL ONE” Piero was a sickly man, who suffered from gout and was often compelled to take to his bed for weeks. Having witnessed her diplomatic skills, combined with her charming disposition, he did not hesitate to entrust her with ambassadorial missions.

One such mission was to the Pope to discuss the Venetian aggression against Florence.

For a woman to be given such an official role was unheard of in those days; no woman had ever acted as an ambassador and certainly never to an all-male court like the papal one. Florentines, who disapproved of giving such power to a woman, did not spare Piero any criticism for allowing his wife to eclipse him and underscore his ‘weakness’.

and sending her news of what was happening in other city states.

But, as can be seen from her letters, politics was not the sole or even perhaps the most important aspect of Lucrezia’s interests. Her family was her top priority. She made sure that her children got the best education possible by employing the most renowned thinkers and writers of the moment with whom she was on first-name terms, such as Poliziano and Pulci.

She took an active part in negotiating the marriages for her children. In the case of her eldest son Lorenzo, she travelled to Rome to inspect for herself the intended bride, Clarice, who belonged to the powerful Orsini family. She kept Piero informed by letter

Lucrezia was overcome by grief when the lifeless body of her son Giovanni, murdered in the Pazzi conspiracy against the Medici, was brought to her.

When Piero became so ill that he had to leave business matters in Lorenzo’s hands, fully aware of the great influence she had on her children, he instructed her to keep a close watch over the young man lest he became too arrogant, cautioning her in a letter: “I will not have the gosling teach the gander to drink.”

After Piero died in 1469, she continued to advise Lorenzo, who later acknowledged her support, describing her as: “My only refuge from my trouble and my relief in many labours.”

PINKPROMO Lucrezia was a compassionate woman.

Many of the letters received are supplications, and what is of greater interest is that the supplicants came from all walks of life. Whether it was a queen in trouble or poor young girls who needed a dowry to get married; whether they were Church institutions or political persons; whether Florentine or foreign, anyone enlisting her aid always found ready help.

Because she was approachable, she was often asked to mediate in disputes and supplicants never doubted that in her they would find a person willing to listen. “She knew how to manage the most important affairs with wise counsel and how to succour the citizens in time of calamity,” one of her eulogists told Lorenzo.

That she exercised an impressive influence on her husband is doubtless. There are many instances from which it can be deduced that her wishes were a command.

In 1465, for example, when the Strozzi family was threatened with exile, she managed to revoke their sentence. On another occasion, she intervened to save the life of a Dutchman condemned to death for bigamy and so saved his life.

Lucrezia also wielded great influence in securing appointments. Today, preferment of dependents, whether ecclesiastical or secular, would be condemned as corruption, but in the days when patronage was an accepted and even laudable exercise of power, such help, if the recipient merited it, was not only acceptable but also a demonstration of kindness and an act of charity towards people of a lower social standing. From her letters, it

is clear that Lucrezia continued to take an interest in her protégés and follow their career long after she had intervened on their behalf.

Patronage of the arts, on which all artists of the time depended, was the prerogative of the powerful.

That Lucrezia was one of the most influential patrons of the arts is yet more proof of how highly cultivated she was. She herself wrote poetry and plays based on biblical stories and composed religious songs.

For reasons of health, she continued to spend time at the baths, but away from the centre of politics, she may have found life rather boring, and being the woman she was, she turned the necessity into a business. She bought the baths at Bagno a Morba near Volterra and made up-to-date improvements, re-building them, the cisterns and bath-houses, adding a new inn for visitors as well as a home for the family.

In so doing, she changed the village into a fashionable health centre. She also bought houses in and around Pisa and Florence.

When she died, Lorenzo wrote: “Besides losing my mother, the thought of which alone breaks my heart, I have also lost a helper who relieved me of many burdens.”

A portrait of Lucrezia by the artist Domenico Ghirlandaio, commissioned by her brother Giovanni, is now at the National Gallery of Art in Washington; and in the fresco of Saint John the Baptist in the Church of Santa Maria Novella in Florence, she appears as the donor.

Lucrezia is the grandmother of two popes: Leo X and Clement VII and great-great-grandmother of Catherine de Medici, Queen of France.

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Pink February 2020 ∫ 25

SHOWSTOPPER

Wild & free

CHUNKY KNITS AND OTHER COMFIES… ALL YOU NEED FOR A WARM WINTER’S WARDROBE!

Photography Andre Gialanze Styling Marisa Grima [marisagrima.com] Hair Josephine Saliba from Screen Professional Hair Salon, Qormi Make-up Talitha Dimech Model Raissa @ Supernova MM *Most items are on sale.

Top; skirt, both Oasis.

Pink February 2020 ∫ 27

SHOWSTOPPER

Top, Oltre.

28 ∫ Pink February 2020

Top; culottes, both Marks & Spencer.

SHOWSTOPPER

Top; jeans, both Cortefiel ∫ bag, furla.

Pink February 2020 ∫ 29

SHOWSTOPPER

Top; skirt, both Marks & Spencer ∫ bag, Oasis.

30 ∫ Pink February 2020

Top; jeans, both Oasis.

SHOWSTOPPER

Top; cardigan, both Cortefiel.

Pink February 2020 ∫ 31

SHOWSTOPPER Tom Ford sunglasses, O’hea Opticians ∫ top; jeans, both Oasis.

32 ∫ Pink February 2020

TRAVELOGUE

YOUR PERFUME IS YOUR LIFE PARTNER In the run-up to Valentine’s Day, ADRIANA BISHOP follows her nose through the winding streets of Florence on a 24-hour whirlwind tour to discover the art of fragrance making in the city of perfume… or “potions of love”.

T

he heavenly scent hits me right from the doorway. As I step inside the palatial hallway, leaving behind the hustle and bustle of tourist-clogged Florence, I am enveloped by a sense of calm, while the welcoming perfume lures me in towards a great hall with a frescoed vaulted ceiling and a sparkling chandelier.

The palatial salesroom is busy with tourists sniffing vials of perfume, imbued with centuries of history, reflecting Florence’s perfume tradition. Despite the excited murmur of customers, there is a hushed reverence as if we were in a library rather than a perfumery.

Florence’s architectural and artistic gems need no introduction, but on my third visit to the city, I was eschewing the famous duomo with its neverending queues and the masterpieces at the Uffizi gallery. I was on the trail of another of Florence’s artistic contributions; one even headier than Brunelleschi’s dome – perfume.

The city of the lily and the birthplace of the Renaissance was also once considered to be the perfume capital of Europe. Its 17 historic perfumeries are a testament to a centuries-old tradition that is still going strong today. It was Catherine de Medici, then only 14 years old, who put Florence on the international perfume map when she brought her personal perfumer Renato Bianco with her to the French court in

Before leaving Florence to marry Henry II of France, the young Catherine had commissioned the Dominican monks to create a perfume for her. Acqua di Santa Maria Novella, her own special perfume made with bergamot, is still produced today to the same original formula by one of the oldest pharmacies in the world, Officina Profumo Farmaceutica di Santa Maria Novella [www.smnovella.com].

Established in 1221 by the Dominican monks shortly after their arrival in Florence, the pharmacy is my first stop on a fragrant whistle-stop tour of the city.

Still basing its products on the same natural herbs the friars used to cultivate in their gardens for medications, balms and ointments for their convent’s

“IT WAS CATHERINE DE MEDICI, THEN ONLY 14 YEARS OLD, WHO PUT FLORENCE ON THE INTERNATIONAL PERFUME MAP WHEN SHE BROUGHT HER PERSONAL PERFUMER RENATO BIANCO WITH HER TO THE FRENCH COURT IN 1533” 1533. After changing his name to the more French-sounding René le Florentine, he would go on to open the first ever perfume shop in Paris, developing fragrances mainly as “potions” of love. At the time perfume was often used to hide the smell of leather gloves.

infirmary, the Officina today has a cult following worldwide. Some of its products, such as the rose water [first created in 1381 and used as a disinfectant during the plague] and Acqua Antisterica [produced in 1614], made with locally grown costmary Pink February 2020 ∫ 35

TRAVELOGUE famous for its digestive properties, have been bestsellers since the pharmacy opened to the public in the 1600s.

The shop on via della Scala is also a living museum, with its antique cabinets, painted ceilings and ornate décor reminiscent of the opulence of Florence in its Renaissance heyday. On the occasion of its 400th anniversary, the Officina undertook an extensive restoration of the historic salesrooms, including the sacristy of the chapel of San Nicolò, which is entirely covered in frescoes depicting the passion of the Christ and painted by Mariotto di Nardo between 1385 and 1405.

plain curtains where perfumes and creams are made by hand using only natural ingredients.

Originally founded by a gardener and herbalist who used to run the giardino semplice [simple garden] of a local convent, San Simone was run by the ancestors of the Castaldi family for generations from 1700 until 1993. The original herbalist shop in piazza San Simone was called Semplicista after the garden. It stood there for well over 200 years until the devastating flood of 1966 destroyed it. The family re-opened the shop further up the road in its current location on Via Ghibellina, renaming it San Simone in honour of its original site.

Dr Russo took over the shop in 1993 from the last surviving member of the Castaldi family thus taking the San Simone tradition into a new era while respecting its origins.

As I take my place around a 120-yearold table, together with three other American tourists, I look apprehensively at the numerous vials and small bottles spread in front of me. For a moment, I am taken back to my Form 3 chemistry lessons and realise that creating a perfume may have less to do with romance and more to do with chemical affinities. On closer inspection, I notice that the bottles

As she teaches us how to smell the essences and think about the memories each one evokes, she reminisces about how her passion for perfume started during a childhood punctuated by strong fragrances from the fields, the gardens, the sea, from the kitchens and from her grandmother’s love for roses.

“My passion for perfume goes back a very long time to my childhood and my time spent with my grandma Rosa, who loved roses and anything that smelt of flowers and cleanliness. I remember when we used to take her perfume out of the drawer, open the stopper of the eau de cologne, and before going out, she would spray us with this fresh fragrance of roses.

Sometimes, I would accompany her to the field where she would hang up the laundry to dry – ultra-white and very fresh laundry, reminiscent of the heady scent of almond blossom,” says Dr Russo.

“In the afternoons, we would all meet up in the garden of my great aunt where the little girls would play and watch the older women sew or embroider. There was the smell of orange blossom that would always be included in a young bride’s bouquet, and at the right time of year, the intoxicating fragrance of jasmine, so heady and strong. In summer, we would move to the house by the sea

“SOMETIMES, I WOULD ACCOMPANY HER TO THE FIELD WHERE SHE WOULD HANG UP THE LAUNDRY TO DRY – ULTRA-WHITE AND VERY FRESH LAUNDRY, REMINISCENT OF THE HEADY SCENT OF ALMOND BLOSSOM” Dr Fernanda Russo

That introduction into the Florentine world of fragrance was just a prelude to the highlight of my visit as I was booked to learn the secrets [or some of them, at least] of perfume making from a professional “nose”.

Tucked away down a side street behind the Bargello Museum and just metres away from its original site on Piazza San Simone, Antica Spezieria Erboristeria San Simone [www.anticaerboristeriasansimone.it] has been creating perfumes since 1700. Its current owner, chemist and herbalist Dr Fernanda Russo, greets us warmly in the small shop surrounded by hundreds of bottles containing myriad essences and oils, but that is only the part we can see as the edifice extends much further beyond two 36 ∫ Pink February 2020

are not randomly placed on the table; rather they follow a pattern I soon learn is the all-important olfactory pyramid, where the head or top notes are the first fleeting hit of fragrance that lasts mere seconds, the middle or heart of the pyramid is the central focus that lingers between two and four hours and is supported by the base notes, the body of the perfume that fixes the fragrance and lasts up to 16 hours.

It is clear from the moment the workshop begins that, for Dr Russo, perfume is so much more than just her profession. It is her life. “Perfume is my secret island,” she tells me. “For me, perfume is the search for serenity; something that makes me feel good and appeases the soul; it is everything that makes me feel more confident to face daily life, which is full of challenges.”

where I would spend hours watching its colours, the smell that emanated from it and the sound of the waves crashing on the shore. I also remember the smell of home-baked sweets and homemade jams.

My sense of smell was thus honed from a very young age as it was subject to such strong external stimuli,” she explains.

A chemist by profession, she shunned the pharmaceutical industry in favour of creating perfumes and creams using only natural ingredients. But becoming a “nose” is not easy. “This is a multi-faceted profession, a complex mélange of technical and scientific skills, together with an artistic baggage acquired through the discovery of art and its history as well as a deep sensitivity sustained by a strong memory and plenty of willpower that enables you to transform your life

TRAVELOGUE experiences into artistic creations,” points out Dr Russo.

We didn’t have years ahead of us to become real “noses”; 90 minutes was all we had to create our own bespoke perfume, but Dr Russo patiently guided us through the rudimentary basics.

Before she let us unscrew the essence bottles, she reminded us that “a perfume is like a partner; it accompanies you like a friend; it is a part of your life”. What a comforting thought.

Starting with the base notes, or the foundation of the perfume, we had a selection of woody, musky, animal and resinoid essences, such as white musk, ebony, black vanilla, fig, ambergris and vetiver root. As these fragrance fixers would be the longest lasting smell of the perfume, it was important to choose the right ones. We carefully put a drop of each essence on thin paper strips, which we learn are called mouillettes, and waft them in front of our noses. At first, the experience is simply pleasant, but soon I start to discern how the smells make me feel, which ones make me happy, calm or remind me of positive or negative thoughts. After much smelling and consideration, I finally settle on white musk and ebony.

A cup of coffee granules is offered round, not for making coffee but to sniff and “clean” the nose from all the fragrant smelling before starting afresh. We thus move on to the most important part of the perfume – the heart. The base notes need to maintain and support the heart notes of the perfume. The selection here included all the flowers, such as iris, rose, orange blossom; light, fruity ones like pear and lavender, which is classified separately as it is so strong; sweetsmelling honey and chocolate, bergamot, talc; woody smells, such as pine, fir, juniper… It was not hard for me to go for rose, also a favourite with Dr Russo.

The top notes are the most volatile, lasting only a few seconds, but they are essential to open up the perfume. These include citrus, aquatic essences, fruit, grass and aromatic herbs, such as basil and verbena. I quickly choose sea salt, primarily because its brilliant blue colour reminds me of the sea back home in Malta. I pair it with blackberry.

I finally had five mouillettes representing my own perfume. It smells fresh, clean, summery and immediately 38 ∫ Pink February 2020

makes me dream of beach holidays.

Dr Russo works out exactly how many drops of each essence I need to create a balanced perfume and I get to work counting the drops in a little beaker.

The perfumed concentrate is then diluted with 95-per-cent-proof alcohol and bottled. My personal perfume was ready.

But I now had to wait 15 days before I could open the bottle and start wearing it. Even Dr Russo seems pleased with the results.

We are permitted a tiny drop of our perfumes on our wrists, and as we smell each other’s handiwork, we marvel at how the perfumes reflect our personalities. Dr Russo remarks how perfume choices tend to vary depending on cultural influences.

“These days, there aren’t that many differences between perfumes for men and women, especially as it is often the women who choose the perfume for their partner. However, I do notice a difference in perfume choice depending on which country people come from. The European tourist often chooses citrus-based or fresh-smelling perfumes; Asians such as the Japanese or Chinese choose perfumes that are ‘non-perfumes’, delicate aquatic creations; Russians or Eastern Europeans tend to go for strong florals; while Americans prefer persistent perfumes, which include a lot of vanilla or fresh greens.”

And what would Florence’s perfume be? One word, she replies: Hedonism.

“Florence embodies history, art,

architecture, philosophy, freedom of thought, medicine, physics, music, traditions and the primary example of all this can be seen in Leonardo da Vinci as well as in Dante Alighieri in his Divine Comedy.”

While Dr Russo laments there are still not enough people training and working as “noses”, creating artisan perfumes, she points out that Florence’s fragrance tradition is still strong and is often tied into art exhibitions, fashion, or even gastronomy as a concept that embraces every aspect of life.

Every September, Florence stages Pitti Fragranze, a three-day showcase of niche fragrances and associated products displaying the best in artistic perfumery.

With my perfume in my bag and a “certificate” stating I had successfully completed a perfumery course, I continue my fragrant walk through Florence, visiting other perfumeries such as Aquaflor [www.aquaflorexperience.com], housed in the vaulted rooms of an old palazzo in Borgo Santa Croce. This is a perfumery for real connoisseurs with deep pockets.

I choose some budget-friendly but nonetheless exquisitely perfumed soaps, which are expensively wrapped, boxed and tied with a ribbon, and I feel like I have walked out of the shop with a piece of history in my bag.

Some perfumeries are hidden behind anonymous doors like Arômantique [www.aromantique.it], a little gem of a place with a magical oasis of a garden tucked inside a plain-looking building down a residential street. Others are sandwiched between the ubiquitous leather shops. All are a joy to discover, if somewhat pricey to indulge in. But then, if a perfume is to be your partner in life, the right one is worth every penny.

In the late afternoon, I cross the Arno and walk up to the Rose Garden beneath Piazzola Michelangelo. As I watch the sun cast its golden glow on the majestic skyline of old Florence, I feel it is a fitting end to my perfumed tour, surrounded by the heart notes of my perfume – the glorious rose.

For a full tour of Florence’s perfumeries, visit www.toscana.artour.it

PINKPROMO

PRODUCTS OF QUALITY What is the purpose of the Products of Quality National Scheme, who can apply for it and how is quality attained and ascertained? These questions and more are answered below.

T

he purpose of the voluntary Products of Quality National Scheme is to add value to agricultural products produced according to set specifications, which characterise the superior quality of a particular product that goes over and above set minimum criteria as stipulated by law.

The superior quality of a particular product can be measured by different parameters, such as public and animal health, improved environmental practices, as well as enhanced animal welfare throughout the whole process of cultivation and rearing, processing and distribution.

The scheme is intended to give consumers certainty that a particular agricultural product has been produced following strict quality parameters.

And all recognised agricultural producers and processors are eligible to apply for it.

Food processing plants that take in raw materials and process them to form other products are also eligible to participate.

Adhering to the conditions explained below will give the right to these operators to use the quality label on their products.

Quality in crop production can be achieved in different ways by using best management techniques that limit and control the use of fertilisers and pesticides, as well as other practices such as tilling at specific

times, using different methods in order to reduce any possible chance of soil erosion.

Quality in the rearing of farm animals can be achieved by practising certain animal housing regimes that permit enhanced animal welfare conditions. The type and quality of the feed given to the animals is certified and monitored by a qualified animal nutritionist.

This is to ascertain that animals are receiving an adequate diet during all the stages of their life.

It also reduces food wastage, a practice that has a lesser burden on the environment due to a reduction of animal waste and subsequent sustainable disposal.

Quality by means of a control plan determines how a processing

plant operates. Any potential contamination needs to be detected and rectified by also making the best possible use of resources. In addition, every entity adhering to the PQNS needs to be in possession of a traceability procedure to record and document the story of a product, the origin of the material and the story of the process.

All this information needs to be stored on a computerised information management system accessible 24/7 by the Agriculture Directorate as the Competent Authority and administrator of the scheme.

Apart from the traceability system, each entity needs to be assigned to an independent control body that monitors and audits the entity at specific intervals.

Pink February 2020 âˆŤ 39

READINGROOM

Faye Paris, Kristina Chetcuti and Marisa Attard.

YES, MALTESE WOMEN ARE AMAZING What about Maltese women? Has our society been shaped only by men? These are some of the questions that inspired KRISTINA CHETCUTI to write a children’s book on the brave, talented females who have left – and are leaving – their mark on Malta. The all-female team, including illustrator Marisa Attard and designer Faye Paris, has created a book that can help start to redress the imbalance of a power structure made up of men in suits.

T

hree years ago, the world woke up to the sudden realisation that, hey, there are some great women on planet Earth. And all of a sudden, bookshops were inundated with children’s books about great women who made history in science, in the arts, in medicine, in activism, everywhere.

Obviously, being a sucker for feminism and for books meant my daughter’s shelves were, by the end of 2018, heaving under the weight of women power. Rebel Girls, Fantastically Great Women, Big Dreams – you name it, she’s read it.

“Remember, you can be whatever you want to be,” I told her with each new book. “I know, Ma,” she’d say duh-like, rolling her eyes. At age 11, armed with all these stories, she couldn’t grasp how there could be such a thing as a glass ceiling.

The thing is, the more I pored over these books, the more I felt something was amiss. What about Maltese women?

Is it possible that over the centuries, there were no brave, talented women who left a mark on Malta? Has our society been shaped only by men?

“Where are our women?”, I bemoaned to my colleagues at Merlin Publishers.

We made a tentative list of those we felt had made a difference to our lives and we counted them on one hand, with two fingers to spare.

And that’s how it started. It was decided I’d do some research, and if I could dig up enough stories, Merlin Publishers would turn it into a children’s book.

The first hurdle was the lack of documentation. The very little literature I came across on Maltese women was mostly academic – not exactly riveting stuff for children. So, I started asking around: historians, art historians, seasoned politicians, doctors, journalists – I once even asked readers for help in one of my columns in The Sunday Times

of Malta. Had they chanced upon any inspiring women?

Gradually, the numbers started multiplying. In the end, I had to shortlist the 17 most resilient women who were, or are, not afraid to go against the current for the benefit of the common good.

Then came the fun part: writing the stories. I did not stick to a particular period. The book, in fact, cuts across the ages: from Tina, the prehistoric Maltese woman, who lived in an . impressively egalitarian society in Ggantija, Gozo, about 5,000 years ago; to Amy Camilleri Zahra, one of the most influential activists for disability rights, who lives in B’Kara.

I wanted to show children that some of these women, who had followed their heart and had let no one dampen their determination, did not only exist in the past, but they can meet them or bump into them even today, like Esther Azzopardi, who’s a UEFA football referee.

Pink February 2020 ∫ 43

READINGROOM Of course, the book truly came to life when Marisa Attard came on board as the illustrator. Her ink and watercolour illustrations made it possible to narrate the story in a comic-like fashion, so it reads almost like a conversation.

And Marisa’s wit comes across so deftly in her drawings – children will pick up all her little nuances and clues [check out the hilarious rag doll in Henrietta Chevalier’s story].

Marisa and I then worked with designer Faye Paris, whose layout brought the book together. It was a veritable all-girl team!

Each woman featured in Amazing Maltese Women has her own special thing about her. But the most exciting find was certainly Clara La Spatara. Who would have thought that in the time of the Knights, there was a much sought-after female blacksmith, who forged some of the most feared swords?

One important thing to highlight is that these stories are not hagiographies. These are women just like you and I, with a lot of imperfections – and we feature them as they are. For example, we do not try to hide the first female President Agatha Barbara’s penchant for swearing in public, but then we show her contribution to the education system.

Indeed, the most emotional part of the book was writing about investigative journalist Daphne Caruana Galizia. She was the first one on my list, but the last story I wrote. How far could I go in explaining her brutal, state-sponsored assassination, seeing as this was a book for children? In the end, I decided to be very open about what happened.

Children do not live in Disneyland. It is important for them to know what is happening around them in a language they can understand. The better we prepare them for the real world, the better citizens and leaders our society will have in future.

I hope that children – be they boys or girls – will be inspired by these real-life stories. In fact, I’d like to stress that this is not just a book for girls. Please, please, read it as a family. We are a society equally made up of men and women, and books like these can help start to redress the imbalance we have of a power structure made up of men in suits.

Amazing Maltese Women is the first step towards writing women back into our history. And may I add that it’s got 44 ∫ Pink February 2020

“CHOOSING WHAT TO ILLUSTRATE, WHICH PARTS OF THE TEXT TO HIGHLIGHT, THE COLOUR PALETTE, THE LAYOUT AND COMPOSITION, CHOPPING AND CHANGING, WAS ESSENTIAL” the thumbs up from the daughter. Not even a single eyeroll, duh.

AN ILLUSTRATOR’S PERSPECTIVE Illustrating a very visual book is workintensive, says Marisa Attard, but it was a challenge she took on willingly once she got to know that this publication would be celebrating Maltese women and their achievements.

“It is important to show our children that we are capable of leaving our mark both locally and internationally. Also, I always enjoy working with Merlin Publishers – they’re a great team and give me a lot of creative space,” the illustrator adds.

While the bulk of the research for the book was done by Kristina, Marisa complemented that by looking at children’s books with similar themes and by searching online, or in books, for photo references and anecdotes that would help her build the characters and get a sense of the era in which each woman lived.

“Since we featured some women from the present, I also met some of them or their families,” she recounts.

“I loved discovering each woman – some household names; others relatively unknown. Then I used my imagination

and artistic licence to bring them to life.

Once I started illustrating, my own style came through.”

Marisa says it was also great seeing the project come to life gradually. “There was a lot of collaboration between Kristina, Faye and myself. Choosing what to illustrate, which parts of the text to highlight, the colour palette, the layout and composition, chopping and changing, was essential, and we worked well together. I thoroughly enjoyed every step of the way.

“We also had to keep in mind that this was a book for children, but we did not compromise on the truth of what their lives were like and, in fact, the most difficult for us was Daphne’s story,” she admits.

Real life does not always have a happy ending, but there is a story of hope, courage and determination in all these women’s lives, Marisa points out.

Although she finds all these amazing Maltese women inspirational, her two personal favourites are Maria de Dominici, a woman artist at a time when they were a very rare breed, and Daphne, whose story has touched and influenced her life immensely.

Amazing Maltese Women can be pre-ordered online at a special price from merlinpublishers.com.

It will be available for sale from all leading bookshops in the first week of March.

PINKPROMO

ADVANCING THE SLEEK & BOLD CONCEPT Mazda’s all-new CX-30 offers an outstanding interior and exceptional handling. Now is the right time to see for yourselves.

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he CX-30, Mazda’s newest small crossover, is now finally in Malta. The new model is intended to hit the sweet spot between the often-cramped subcompact crossovers [including Mazda’s own CX-3] and the more compact class, where vehicles have grown along with their popularity and reputation.

Without a doubt, the CX-30 moves past the competition on fun-to-drive, handling, passenger comfort and fit-and-finish.

Virtually all the safety features and driver assists are standard, and it may well be the leader in reliability and consistency.

The CX-30 also marks the beginning of a new naming convention that will eventually be applied to the whole lineup by Mazda.

Over the past five years or so, Mazda has grown from a reputation of making cool, good-looking vehicles to making cars and SUVs that are extra goodlooking, enough that it has started convincingly pushing itself as an affordable luxury brand.

The 2020 Mazda CX-30 further advances the Kodo: Soul of Motion design philosophy with what Mazda calls the Sleek & Bold concept.

THE S-CURVE IN THE BODY SIDES One of the major design elements of the CX-30 is the S-curve in the body sides, which takes advantage of light and shadow to change the way it looks at different times of the day and in different settings.

With black lower cladding that encompasses the entire vehicle, Mazda highlights that S-curve and Charge and Release profile, while playing into the sleekness part of the Sleek & Bold design scheme. More significantly, the 2020 Mazda CX-30 looks the part of a premium crossover even with a price that’s much more widely appealing.

PREMIUM-FEELING INTERIOR The attractive exterior is complemented with a comfortable, premium-feeling interior. By studying the human body, engineers focused on developing seats that can help provide the proper posture for all occupants – not just the driver.

The idea is for each ride in the CX-30 to be a pleasant and enjoyable time for all.

The openness of the cabin encourages conversation that helps bring people

together through the time spent in the CX-30. A spotlight on interior comfort and everyday user-friendliness makes this allnew compact crossover a car for everyone.

TECHNOLOGY Mazda’s i-Activ all-wheel drive is one of the smarter systems available. It displays everything from driver input to the forces acting on the car and studies this information to define the best power split in real time.

The predictive ability allows it to seamlessly shuffle up to 50 per cent of the power to the rear wheels whenever needed. When extra traction isn’t needed, the system only powers the front wheels to improve fuel economy.

The Mazda CX-30 brings the Mazda3’s credentials, including a sharp exterior look, a swanky interior, solid performance, sorted handling and available all-wheel drive, to the oh-so-popular compact crossover segment. This blend has the potential to see it become the favourite of the market.

GasanZammit launched this car in December and since then, the new Mazda CX-30 has been immensely popular with local customers.

This fashionable car can be purchased for €24,200, including scrappage scheme, or on payment plan [€273 per month, including scrappage scheme for eight years, with a 20 per cent deposit].

So, grab this opportunity, go and visit the Mazda showroom in Mrieh-el and test drive the new CX-30!

Pink February 2020 ∫ 47

SNAPSHOT

30 YEARS IN THE MAKING Bank of Valletta is giving audiences the chance to experience a retrospective exhibition of Celia Borg Cardona’s powerful art. Here, IGGY FENECH chats to the contemporary artist to find out more.

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or the past 30 years, Celia Borg Cardona has painted her way into our collective consciousness: from her bird’s-eye view of people from above through to her politically charged art in the aftermath of journalist Daphne Caruana Galizia’s assassination. Now, the 27th edition of Bank of Valletta’s Retrospective Art Exhibition will give culture vultures and art lovers the chance to see a hand-picked selection of her works.

Choosing work for a retrospective exhibition for an artist who has been incredibly industrious must not have been easy. How did you choose which paintings to show? Although

this is my exhibition, the choice was

made by the curator, Francesca Balzan. We’ve been friends forever and she’s been a part of my art journey since the very beginning…

The final selection includes numerous paintings that have never been exhibited, including ones that were commissioned and went straight from my easel to the owner’s home.

So, in many ways, this will be quite an interesting exhibition for me to experience too!

That is why Francesca was the only person I would have entrusted with such a task – because this is so personal. And the way she’s hung the pictures is great: they’re done thematically not chronologically, so that should make quite an interesting point of conversation for audiences.

What themes do you usually paint?

Quite a few different ones! I guess I’m mostly renowned for my pictures of people, which range from portraits to paintings from above of crowds, be it at weddings, parties, processions, or the market. I also spent a time painting boats and their surroundings, with the pictures of the Drydocks and the Freeport both making it into this exhibition. Then there are the more architectural-themed ones, which include buildings and streets in Valletta and other localities. More recently, I started painting themes related to Daphne [Caruana Galizia], who was a dear friend of mine. In the past, I painted whatever I felt like painting, always trying to make nice pictures even out of ugly things. After Daphne’s assassination, however, I’ve gone down a route where more thought goes into my paintings…

Could you elaborate further on the last point? Sure! For example, there

is one painting called Gone, which, essentially, is a quasi-architectural painting. In it, I juxtapose the cliffs of Dwejra, where the Azure Window Pink February 2020 ∫ 49

SNAPSHOT once stood, and Daphne’s Running Commentary without words. The thought is that both have been lost and we will never get them back.

Another painting is of the memorial to her in front of the Law Courts from above – it’s the same theme as my aforementioned people pictures, but this one is much more personal and emotive.

young and, for some reason, I just asked him if I could join the class instead. I ended up learning art at a dining table with six or seven eight-year-olds! It must have looked hilarious, but within a month, I was sketching all the time. I simply couldn’t get enough. This was followed by a stint at the School of Arts and, well, the rest is part of this exhibition!

When did you take up painting and why? Quite late in life by most people’s

A retrospective feels a bit final, but you’re no way near done from your art, right?

standards, actually! I was in my mid-30s when I started painting and I’m now in my mid-60s… And it was all on a whim.

I did sciences at school and later studied pharmacy at university. It was completely different from art and, to my mind, art and science were mutually exclusive – I simply couldn’t do both. Moreover, my parents wouldn’t have considered art a serious subject, or at least, not one with good enough job prospects. To them, and for myself, I had to do something more serious. Even so, I was always making things; anything I could do with my hands, be it furniture restoration, knitting, or embroidery.

I had this discussion with Debbie Caruana Dingli, actually, as I told her I felt a retrospective meant it was the end of the road. In her words: ‘This is a wonderful way to close one chapter and begin afresh.’ I guess she’s right because the beauty of art is that you’re never quite done: no painting is ever truly complete, no artist is ever done saying something through their art. So, to answer your question, this is definitely not the end of my journey in art!

Then I became a mother, and when my son was six years old, I thought he should start art lessons. I rang up Lewis Wirth, a renowned art teacher, and asked him to take him up. He said my son was too

Celia Borg Cardona: A Retrospective Exhibition

by Bank of Valletta is on at the National Museum of Archaeology in Valletta until March 4. Opening times are 9am to 5pm between Monday to Sunday [including public holidays].