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In her nostalgic new series Cuore di Panna, illustrator and artist Olimpia Zagnoli is not only hoping to evoke personal childhood memories, but also paint a picture of late 1980s Italian culture.

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The sum of experience accumulated in more than one man’s lifetime, and verified by succeeding generations, is not to be safely discarded. Tradition, therefore, is another word forunanimity about fundamentals which has been brought into being by the trials, errors and corrections of many centuries. The events of the 16th and 17th centuries challenged this devotion to tradition in several ways. Censorship and other limitations of the press interfered with the transmission of knowledge between generations of printers and between printers from different nations. In England it also eliminated the access to standard typefaces and forced craftspeople unfamiliar with typecutting to design new fonts. New profit driven presses were run by men who were not long standing members of the trade and thus did not properly respect existing practices.


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Her mother died of tuberculosis in 1895, when she was 12 years old. Her father left the family immediately afterwards, to look for work to raise the children. Chanel was entrusted to the care of a Roman Catholic orphanage at Aubazine, where she spent almost seven years. During this period she had her education at the orphanage convent, up to 1900, and later at boarding school in Moulins, until 1902. While at the orphanage, the nuns taught her the trade of a seamstress, a form of vocational training that would help her to lead an independent life in the future. Little was it realized at that time, that the training given by the Catholic nuns of the orphanage to Chanel, had laid the foundation of a worldwide movement that was going to change the way women dressed in the 20th century, relegating the traditional conservative forms of dressing to the dustbin.