The 40-year career of the Roberto Cavalli fashion house

The designer traces the brand's history with his glamorous choices and unmistakable leitmotifs

The fireworks that light the façade of the Ecole des Beaux Art sparkle like Roberto’s eyes, watering towards the end of the show out of joy and emotion. He was moved by the red carpet where, to celebrate his first forty years in fashion, friends and acquaintances turned out in droves to hug him and admire photos of the most beautiful women in the world, shot by Met & Marcus for a 40th anniversary celebration tome bound in Florentine leather. The book is a symbol of the designer’s attachment to Florence, the city where he was born seventy years ago, and his creative muse together with his wife, Eva, who has worked alongside Cavalli constantly throughout each phase of his work, from the mundane events and bureaucratic details to the debut of each collection. She’s every bit as moved as Roberto as they celebrate 40 years of fashion energy that launched them to this zenith in Paris, where it all started in 1970. “I arrived in the prêt-à-porter salons with very few pieces, but I had two beautiful models with me, because I’ve always loved women”, explains Roberto, iconic cigar in hand. “It triggered a folly of competing buyers, to the point where Hermés offered me an exclusive contract. But I wanted to have my adventure solo; I was proud, proud to be Florentine and work using age-old artisanal techniques. Today, after 40 years, I’d say I made the right choice!”

During Milan fashion week he blew attendees away with his summer 2011 collection of one-of-a-kind pieces, silk and crocodile suits, python bags and ultra-high heels. The world of Cavalli: exuberance, the culture of luxury, but at the same a deep connection with his roots; the courtyard of the Ecole is dotted with Tuscan cypresses, and the atmosphere is that of a garden that overlooks Florence. The designer and his wife stand before a cake three metres tall alongside their five children, Cristiana, Tommaso, Rachele, Daniele and Robin; it’s the culmination of tonight’s festivities.

Few in Cavalli’s position have understood life in the same way: seize the moment and enjoy it to its end. He manufactures ideas, is always centre-stage, yet retains an intimate shyness and affinity for solitude. In his creative studio in Osmannoro, his computer is constantly running images that inspire him.

Roberto, it seems you have a passion for photography as well.

I took pictures long before I became a designer. I do it for me, because I like it. Photography is an art form, and everything inspires me from flowers to hieroglyphic clouds; I believe that God communicates with us through these things. When I travel with my camera I forget everything: I throw on some jeans and a tee and go.

Are you a believer?

I was born Catholic, with the teachings of my mother, and extraordinary woman. She reaised me by herself because my father was killed during the war, and I studied at via Maragliano, in Florence. Over time, I came to understand that it’s not an empty subject. My mother always spoke to me of love, she was almost obsessed with it. She always said that to be loved, one has to love. I believe in a God of everything and now that I’m not as young as I once was, I talk about it every evening. It’s like a continuous feed.

Are you afraid of dying?

When I was a young man I feared death. Not anymore, I’m not afraid of old age and I’m curious about the hereafter.

Are you happy with yourself?

Very much so. God gave me a unique intelligence. I was raised on bread, strength and seriousness. After so many years of fashion I’d like to give back. But I haven’t changed much… I still love parties and champagne, Ferraris and beautiful women, I think life should be enjoyed to the last drop. But there are also those who need us.

What do you teach your children?

I always tell them that in life, we must do three things: work, earn and spend. It’s a happy triptych from which you can’t escape.

Is yours a family of artists?

My grandfather did portraits. His name was Giuseppe Rosi and just a few days ago they exhibited a portrait that he did of my grandmother, Egle Santolini Rossi, at the Gallery of Modern Art in Palazzo Pitti; I can’t wait to go see it. He passed some of his artistry to me, in fashion and photography. On November 15, my seventieth birthday, I’ll inaugurate an exhibition of over 400 photos in Milan that includes images that range from the Galapagos to Los Angeles, in the style of Cavalli.

What was your first job before becoming famous?

I printed and painted tee shirts. I came up with a method of printing on knitwear in 1966 and it was a great triumph. I worked in a garage on via Tozzetti in Florence, but with the flood, I lost everything and didn’t have two dimes to rub together. In 1969 I invented a method of leather printing: it was a huge hit, Hermés wanted it. I earned some money and bought myself a little Ferrari. In 1970 I arrived in Paris for the prêt-à-porter and everyone wanted exclusive rights to the leather printing method. But I said no! I’m keeping it!

So much money and so many women…

I was pretty cute, not bad. I learned English from the tourists in piazza Signoria, and back then you could park outside Rivoire. My first print collection was horrendous, but the Americans liked it. In ’71 I presented a collection in the Sala Bianca with Armani, Missoni and Trussardi: I was number one because I’d invented jeans with leather patches.

Do you remember your first love?

Of course. Her name was Robertina and she was my first kiss when I was 16. I cried so much when she left me, my mother consoled me and told me I’d find another love.

And the true love of your life?

My wife Silvana, who I married when I was 22. She’s Cristiana and Tommaso’s mother. She lived near us and I met her on the 17 bus on the way to school.

Then came Eva, who’s your right hand.

Yes, I met her at a beauty contest. She was fabulous, just as she is today. We lived 10 dreamy years together, from 1980 to 1990 when my success died down a bit, during the era of minimalism in fashion, and we retreated to the countryside. Rachele, Daniele and Robin were born then, and we were very happy.

Then you decided to return to success?

It was 1992, I wanted to shut down the company but didn’t want to fire anyone. Instead, I came up with the idea of weaving lycra thread into the serpent prints, and distressed the materials with sandpaper. It was so cool, when I presented it at Modit everyone was talking about it, it was the future of jeans, and before then no one really focused on Cavalli. But here I am: today I know how to navigate fortune, you must seize it when you comes along.