Italy’s scantily clad starlets, fashion designers and star soccer players stepped out on a drizzly Milan night last week to attend the opening performance of Cirque du Soleil’s “Saltimbanco.”
It was the first time the Cirque has swung its trapezes in Italy, and the tent was filled with such ticket holders as Giorgio Armani; Eva and Roberto Cavalli; Barbara Berlusconi, the daughter of Italy’s prime minister; Alessandro Dell’Acqua; Lavinia and Beatrice Borromeo; Carla Sozzani; Flavio Briatore, and Naomi Campbell, who oohed and aahed over the acrobatic feats. After the performance, guests made their way to a Cavalli-hosted party at an old factory to honor Guy Laliberté, the founder of Cirque du Soleil.
This story first appeared in the May 3, 2004 issue of WWD. Subscribe Today.
Dell’Acqua raved about the bungee jumping and the somersaulting clowns and decided the show should be renamed “Fellini’s Circus,” while Cavalli admitted he’d already seen the show once in Las Vegas. “It’s so chic,” he declared. “I love the colors, the costumes, the glamour and the name — it’s fresh and strong, like my style.”
In London at his new store on Bruton Street, Matthew Williamson turned down the lights, pumped up the music and put Kelis in the window to perform “Milkshake” for Yasmin Le Bon, Leah Wood and Rachael Weisz. Tiffany Limos, Erin O’Connor, Jasmine Guinness and Bay Garnett came to drink Coca-Cola from bottles customized by Williamson, munch on mini-hamburgers and wonder where all the clothes had gone. Indeed, the fluorescent racks were bare. “It’s an incentive for everyone to come back and shop,” explained Williamson.
The night before, in nearby Berkeley Square, Morton’s — once a louche party den — celebrated its comeback as a members’ club and restaurant with Francesca Versace, Tim Jefferies, Tamara Beckwith and Jerry O’Connell.
“I used to party, we all did,” said the new owner, Marlon Abela. “But now we’ve grown up. The new Morton’s is going to be quiet enough to have a conversation. There’s not going to be a lot of jumping around the dance floor and relying on body language.”