To say that Florentine brand Stefano Ricci does things big is an understatement. I’ve had the privilege of tailing the brand in the past years for its seasonal fashion presentations and they’ve been anything but ordinary.
Stefano Ricci’s DNA is rooted in its Florentine craftsmanship with a proclivity for the finest and most luxurious of materials as well as experiences. The Ricci family is thoroughly proud of its Italian heritage, so much so that every seasonal collection had been inspired by stories, places, and the histories of and within Italy.
My first encounter with Stefano Ricci brought me to Punta Ala in Tuscany, where we sailed to the state-protected island of Montecristo. Then there was the time where we were shipped off to Naples and privately explored the interior and grounds of the Royal Palace of Caserta — the largest royal palace in existence — before settling in for dinner right in front of the fountain of Venus and Adonis. And at the end of last year, the relatively quiet city of Mantua played host to Stefano Ricci’s autumn/winter 2022 presentation, unlocking yet another hidden gem of Italy.
The commitment to Italy goes beyond playing cultural guides. Stefano Ricci had contributed to the restorations and sponsorships of various institutions over the years. These include the restoration and digitalisation of several antique volumes from the 14th to 18th centuries kept in the State Archives of Florence, as well as donating new lighting for the iconic Ponte Vecchio in 2014.
While there’s certainly more hidden Italian gems to bring to the fore, Stefano Ricci’s 50th anniversary required a grandeur that was unprecedented for the brand — one that truly exemplified its increasingly global presence.
A total of 400 clients and journalists were brought on a journey outside of Italy to Egypt’s southern city of Luxor. Stefano revealed during a press conference on the day of the main event that an additional 100 members of staff, models and Italian crew were flown in as well, with an estimate of over 1,000 individuals working behind the scenes.
Three temples were completely blocked off from the public. Luxor Temple, the original home of the Luxor Obelisks (one of which is now located in Paris’ Place de la Concorde) was the site of a welcome dinner. It was here that one got a sense of the kind of reputation that Stefano Ricci and the Ricci family have built over the last 50 years.
On two giant screens at the end of rows of reception tables, one of Mandela’s daughters, Zenani Mandela-Dlamini, recounts the occasion where she was first acquainted with Stefano (or “Uncle Stefano” as she refers to him). A 1994 state visit to the United Kingdom she accompanied her father on, saw Mandela breaking dress protocol by wearing a black silk shirt by Stefano Ricci in the presence of Queen Elizabeth II, instead of a formal tuxedo. The shirt then became one of many style signatures that Mandela has been known for.
The main event on the ensuing night was held within the compounds of the Mortuary Temple of Hatshepsut. Another friend to the Riccis, Bocelli opened the show with a stirring rendition of ‘Celeste Aida’ from the opera Aida and in view of a full moon. It’s a fitting number given the location and served as a teaser to a celebratory collection.
“I remember in the old days, I was using some Egypt-inspired designs for my ties. I wanted to celebrate the place that brought me good luck,” Stefano expressed. He also recounted the first time that he visited Egypt over 20 years ago that led him to write a book called Luxor with the help of Dr. Zahi Hawass, an Egyptian archaeologist and former Minister of State for Antiquities Affairs. It was a reiteration that choosing Luxor as the brand’s first international show was not without context.
The fashion show was hardly typical of Stefano Ricci line-ups of the past. There were 90 looks in total showcased by 45 models. Broken into six parts — with musical intervals by Bocelli, son Matteo Bocelli, and Swedish-Italian soprano Susanna Rigacci — the show began with a series of eveningwear in classic Stefano Ricci style of exquisite silk jacquards in vibrant jewel tones. A number of them were decorated with hieroglyphics woven into the fabric (made in the Ricci-owned 18th-century Antico Setificio Fiorentino silk workshop), both an homage to the history of the city as well as a masterful show of craftsmanship.
Black models walked down the steps of the temple in the third segment, dressed in variations of Mandiba shirts. But of course, they were given the Stefano Ricci treatment of fluid ease and styled in a simple, contemporary way.
The fourth segment and its showcase of tailoring was a fine example of Stefano Ricci’s evolution. As with most Italian brands of its ilk, tailoring has become one of Stefano Ricci’s staples. The latest collection ensured that there were modern inflections without compromising on the traditional Italian aesthetic that its ultra-rich clients are already accustomed to. There was a general sense of sprezzatura with open-collared shirts worn under plaid and checked suiting rendered in fresh colours.
‘Nessun Dorma’ closed the show, sung once again by Bocelli. As the song reached its climax, Stefano descended down the steps with Filippo in hand. They were then triumphantly joined at the foot of the steps by Niccolò as well as matriarch Claudia — the complete Stefano Ricci quartet.
“To make a brand today, one that will last for long, is very difficult,” Stefano opined. “50 years ago, it was much easier and thank god for that. I’ve always followed one singular direction, rejecting the attraction of big numbers — something I’ve refused because I believe that quantity doesn’t go with quality.”
Independent fashion companies exist but they’re uncommon, especially in the elite luxury niche where Stefano Ricci operates. The brand has a retail presence of 70 standalone boutiques and more than 20 shop-in-shop locations worldwide. It was hit hard during the height of the Covid-19 pandemic but Niccolò attests that “2022 is our comeback”. He said that this year’s numbers are set to be on par with 2019’s despite the restricted movements of China and economic sanctions imposed on Russia — two markets that were historically vital to the brand’s revenues.
There’s little doubt that being family-run means that the company has been able to be nimble and adapt to such unforeseen circumstances. It does seem that the brand is focusing its efforts in the United States. Niccolò expressed positivity in the retail performance in the country after a two-week visit. At the time of writing, a new Stefano Ricci boutique is set to open in New York City’s Madison Avenue at the end of October 2022.
“Any plans for a future IPO?” asked a journalist from Dubai.
“When we passed a certain level of turnover years ago, we had a family meeting and decided to manage the company differently. We are not a public company but we are structured as if we are,” explained Niccolò. “At the moment, it isn’t the right time for an IPO. Covid has changed a lot of scenarios and now, we’re focused on growing the business.”
A 15-minute drive away from the show venue was Medinet Habu, another awe-inspiring locale that’s completely riddled with hieroglyphics, to end the 50th-anniversary celebrations. It was another round of musical performances and congratulatory, heartfelt speeches as dinner was being served past 10pm. Yet, emotions were still high from the monumental fashion show.
Niccolò and Filippo made sure to make their rounds to every table throughout the night, thanking every journalist and guest. Their faces were understandably tired from the preparations leading up to the event but the gratitude was apparent.
“You can finally now have a good sleep, Filippo,” I remarked before taking my leave for the hotel. He laughed and gave me a hug.
Time spent in each temple was immensely extravagant in every sense of the word. Beyond the lavish displays, at the heart of it, the two-day celebration was a testimony to the relationships that Stefano Ricci has forged.
400 guests across 50 countries came together to celebrate a golden jubilee of a Florentine brand that remains completely in the family. That, in itself, is a monumental feat worth celebrating.
