Aldo Coppola - Bellezza senza tempo Milano

Entry (Area)

Area 3 - sinuous mov... ... (Area)

That Aldo Coppola had a curvilinear soul and was a devoted creator with flexible pathways is a given. It is enough to observe his hairstyles – even the most structured or pomaded – to see this. Stiffness and contraction were not his business. Curious: he was clear and straightforward in his personal relationships at all levels, but when he ran his hands through hair, he almost always chose option B, the most circuitous route, which then was the most difficult solution. Experiencing something new was stronger than anything and enriching his language became a necessity. Here I am talking about waves, his signature style of all time, that never failed to give hair movement and a certain liveliness. One day, a few years ago, I met him in the salon for an interview for “Beauty in Vogue”. We talked of trends and if the hairstylist still had that power, that power of a guru that he was exercising on women until some years before. He spoke of taste and style, and meanwhile, as he prepared to give a haircut, I had the pleasure and privilege to follow his live tutorial: “Even the styles which seem geometric and designer, should be soft and move. This is why I developed a new cutting technique called the Catwave. It is a wave cut, ideal for long and medium hair like yours: it deconstructs by extracting the tips and the useless masses. One proceeds in a spiral, about 4 cm from the root. Look!”. I, with long hair and a fear of a treacherous haircut, admired incredulously the volumes that magically became reproportioned and the slightly asymmetrical fringe that never stood still but yet managed to always fall back in place. Movement and softness are a must: never go without them, even in the case of the hyper-structured, artfully constructed chignon: the flowing locks and tufts must seem animated. This is that something that makes the styles by Aldo special. Not coincidentally he was the only one who transformed hairstyles (only apparently sculpted) into collectible works, where even an ordinary curl fixed in view never seemed too firm... would have the appeal of pastiche. A sham! Instead hair is a living material and can challenge any law of gravity and stillness. It is these simple but well-founded bases that underlie the philosophy of Aldo Coppola salons, where even the brushing techniques follow protocols with precise rhythms of execution. Round shapes, the symbol of femininity, make a style, accessories, objects, even spaces (as designer homes demonstrate) more gentle. Thus, in 1986, even Aldo Coppola, after almost twenty years with a trademark in the form of stylized biscuit, half yellow and half black, gave it up a very round one (the current one!). It was during an outing to the home of his friend Oliviero Toscani, where he went to relax and ride his wonderful Appaloosa horses, that the iconic symbol of the Maison was born between glasses of wine. Giorgio Galli was at the time the celebrated designer for Swatch watches, who, looking closely at a rolledup hair, performed a macro-zoom and highlighted it with a passion red brushstroke. The result was “the circle of Infinite Love of Aldo Coppola”, today synonymous with quality, avant-garde and exclusivity. In progress! The best picture that can represent this concept is something rounded. Round like the feminine universe in its infinite facets; and like a trademark that would many years later, specifically in 2007, be that of Go Coppola, a new partnership concept conceived by Aldo Jr., which focuses on all the young stylists who want to share in the brand and then open their own salons with a modest investment. It is a real artistic and professional project, recognizable by the classic red and black mark, which allows training in its most original styles and fastest techniques. Very fashion-oriented, it is articulated through a strategic partnership and at the same time, it is more accessible, and has among its values also that of seeking out new talent in hairdressing. 

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Timeless beauty (Area)

Does time pass or is the idea of past, present and future completely subjective? For Aldo Coppola the evolution of beauty does not depend on the temporality of history because beauty is timeless. This is why the exhibition was divided into nine themed areas without chronological order. This decision was made for a variety of reasons. Firstly, all of Aldo Coppola’s creations are (obviously) dateable but never dated. When you stop and look at a picture and then note the year in which it was taken, you are amazed because the portraits are extremely modern and technically on-trend. Furthermore, his entire creative production was more extensive and wide-ranging rather than divided according to periods, and it revealed many socio-cultural influences. For this reason, the artisan (as Aldo called himself) was never particularly struck by just one theme or trend. He followed every path consciously or not (even going against the flow) and he went in every direction, breaking the rules with the aim of creating something innovative. His approach was unconventional and unique. Exploring the artist’s creative vein, the first theme encountered is a patchwork of images published in the most important Italian and international magazines. All these photos share one immediately recognizable aspect: despite the year in which the picture was taken, the photographer’s vision and the model’s attitude as well as the level of quality and artistic expression are always superb. Continuing on, surrounded by red roses which have always been a symbol of Aldo’s passion and that of his company, you come across all the fundamental themes in the story of this great artist: from Sinuous movement and the portraits of marvelous women to Colours and his development of Infusion, and up to his “breakthrough” cuts in Breaking of forms, always with an eye on the future while remembering defining moments of the past. Beauty observed, beauty inspired. This journey is dedicated to Aldo, his love for women and their beauty and to everyone who works with timeless passion and devotion. 

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Area 1 - biography (Area)

Aldo Coppola (1940-2013) was only 14 years old when he went to work in his father’s shop. He did not much like studying and to wash hair he had to climb on a stool. At 16 he was already a Maestro d’Arte and ten years later he opened his first salon on Via Manzoni 14. He did not yet have clients, but he had many beautiful ideas in mind: setting up different spaces in the store, and therefore throwing out the hoods and curlers and reinventing the concept of cutting and styling. If the first is done on dry hair, the second will be more natural, if done by hand, a brush and a hair dryer. Almost simultaneously, after consulting with Biki for a fashion show at Pitti (“I had no more hairpins and I was missing 5 models!”), a renowned designer of the time, his passion and curiosity about the world of fashion exploded, and his creative and stylistic abilities soon got noticed. There began his collaboration with the great designers of Italian ready-to-wear and with the most famous newspapers and magazines of the time. His experience, which matured on photo shoots working alongside great photographers, did nothing but enhance his professionalism. Carlo Orsi, Norman Parkinson, Gian Paolo Barbieri, Oliviero Toscani, Helmut Newton, Barry Lategan, Fabrizio Ferri, Giovanni Gastel and David Bailey valued the inspiration of his hairstyles, making him known in London, Paris and New York. Here is what the great Giovanni Gastel said when thinking of Aldo: “What struck me when I met him for the first time in Cernobbio was his sympathy, his great availability and his sense of humour. A few minutes with him and his joy would infect you. And I carry it with me always when I work, as he taught me to do. ‘Because you have to be happy to do a job that you love’, he would say. He was already a legend. And I, who as a boy I was a national tennis champion, realized one basic rule: when you play with a great, you play better. Working with him was like this.” In 1976, the opening of the Piazza San Babila salon and in 1979 the launch of his first cosmetics line with his name followed. The next year the Agency was created. It was the first Italian agency to offer services and consulting on makeovers, makeup and wigs, to use the jargon of specialists in the fashion and advertising world. Productions, shows, campaigns in Italy but also abroad consecrated Aldo Coppola as the most creative and innovative hairstylist in the world, at the highest level. Gian Paolo Barbieri, the first great aesthetic photographer of Italian fashion remarked: “Despite being far away, I always think of Aldo, of how he would still be of help when I have difficulties creating beautiful images. One of his last works was for Vivienne Westwood with the help of the great Anna Piaggi. We were inspired by the works of Hans Holbein, and Aldo created absolute masterpieces on the heads of Jerry Hall and Vivienne Westwood. Later he created the Veruska images for the German magazine Die Zeit”. Another big meeting that marked his career and his inspiration was in 1983 and 1986 with the group L’Oréal. It was much more than an ordinary partnership, but a true friendship, profitable from every point of view. This was reflected in the dense production of Calendars, Artbooks and the organization of events and artistic Shows (at Cosmoprof in Bologna and in the world), which also attracted 8.000 -10.000 spectators. Aldo was a star and his ability to attract interest and move the crowds was unique. How can we forget the show in 2012 in Turin at the Palaisozaky to the tune of Bocelli? There would never be enough adjectives to “tell about it”. Simplicity is the first. As Gian Paolo Barbieri remarked: “He was of an extreme simplicity, he never gave himself airs, he was always an ‘artist’ and a great one. He never failed to surprise me. He arrived on the set with bottles of Lambrusco and some salami, which he procured from his estate in Oltrepò Pavese, where he lived. He was always a true artist and truth is always beauty”. There has never been anyone like him. Generous, passionate and stubborn. A very strict and demanding father, say his children. “If my mother was and is the glue of our family, our home, our haven, with dad the relationship was not easy. Very demanding, of few words and no-nonsense. I learned that by working with him. At 16, he put me to work at the shampoo basin and paying my dues was hard. I earned his respect after the contract I brought home with L’Oréal and the show in Tokyo, during which I introduced Philippe Starck to him, who at the time was still unknown”, says Aldo Jr. Surely being the son of someone who had made an art of his profession must not have been easy. It was like living next to this volcano of ideas, remembers Franca, who became his wife at only 16 years old. “We were two volcanoes shared the same passions: family and the countryside. In the early years, I worked beside him in the salon, then, with the birth of our children, I dedicated myself to our home (at Casa Colombi, a small village between Broni and Stradella) in Oltrepò Pavese. It was our haven where he loved to welcome friends and share his passion for horses and good food. He always demanded a lot, especially from us. What do I miss? I miss everything about Aldo, not his impatience, but his laugh and his comments when I changed the appearance of the house, rearranged the furniture and changed the furnishings”. Just to give some impressions of the “private” Aldo. “A delightful host! He cooked – like all great creative people – very well”, remarks the director of Glamour Cristina Lucchini. Franca’s best memory? “A trip to Madagascar, though, after a week traveling around, he wanted to go home. He missed work”. It is extraordinary to think what he did and created with hair. “I owe him my conviction that hair exists to be cut. Every time his scissors got close to my hair, I felt an uncontrollable impulse to cut it as much as possible. A real pleasure. The sorrow was then having to wait for it to grow back in order to be able to cut it again”, said Ariela Goggi, assistant director of Vogue Italia. Travelling, the shows and the new philosophy for the new Ateliers kept him always on the move. It was difficult to find him not working on a project! Redesigning new spaces for new Ateliers of wellness and private salons was his passion and until the last days of his incredible and rich life, he taught and shared his advice with his young guys. The show must go on!

Franca sozzani (Area)

The greatest Italian interpreter of hairstyling in the world. A pioneer. A revolutionary. A creative talent. His story with Vogue is long. He started in 1968, creating hairstyles for one of Toni Kent’s services. After that, he continued to collaborate with Vogue Italia working with the greatest photographers in the world: from David Bailey to Gian Paolo Barbieri and from Peter Lindbergh to Fabrizio Ferri. He was one of the first to transform the status of the hairdresser who, suddenly a star, became an integral part of the fashion system. It is enough to consider that in 1961 Biki invited him to design hairstyles for supermodels on the runways. Aldo Coppola collaborated with all the major magazines, created his own product line and designed the looks of celebrities and ladies of haute société. He worked with Armani, Valentino, Versace, Ferré, and his styles were photographed by Toscani and Helmut Newton. Famous for his exceptional craftsmanship (he invented cuts and colors, such as shatush) and for his creativity, personality and creative energy. A Legend and a Brand. “I’m going to Aldo Coppola’s” says it all. You just know that you are going to the best there is. It is a Statement and (almost) a Status symbol. Certainly a guarantee of quality. Franca Sozzani 

Acknowledgements (Area)

STYLE, CREATIVITY, SERVICE, QUALITY, PROFESSIONALISM and ART   Form the foundations of Aldo Coppola’s company, which continues to look ahead and explore new territory with the aim of making converts and spreading his know-how and philosophy so that new beauty – so much new beauty – can be born. It is a “Mission Possible” because everything is done, taught and shared with the same love and commitment. If you’ll excuse the presumptuous comparison, Mother Teresa of Calcutta had a saying that’s universally applicable – it might have been coined by Aldo Coppola: “Not all of us can do great things. But we can do small things with great love”. To my mother, without whom none of this would have ever happened.   THANKS TO EVERYBODY WHO HAS GIVEN A CONTRIBUTION TO CREATE BEAUTY:   To all our stylists, staff and freelancer who are part of the Aldo Coppola family. To all our Italian and international franchisees. PHOTOGRAPHERS: Alex Chatelain, Alfa Castaldi, Andrea Buccella, Arthur Elgort, Avi Meroz, Barry Lategan, Carlo Orsi, David Bailey, Douglas Kirkland, Fabrizio Ferri, Ferdinando Scianna, Francesca Ripamonti, François Lamy, Gian Paolo Barbieri, Giovanni Gastel, Helmut Newton, Javier Vallhonrat, Jeanloup Sieff, Lorenzo Marcucci, Luca Babini, Norman Parkinson, Oliviero Toscani, Paco Navarro, Patrick Demarchelier, Pino Guidolotti, Renato Grignaschi. MODELS / TESTIMONIALS: Anna Anderson, Carla Bruni, Carrè Otis, Catrinel Marlon, Charlize Theron, Claudia Schiffer, Cindy Crawford, Elenoire Casalegno, Elisabetta Canalis, Federica Fontana, Fernanda Lessa, Jerry Hall, Joyce, Julia Roberts, Kasia Smutniak, Kathy Quirk, Laura Chiatti, Laetitia Casta, Madalina Ghenea, Monica Bellucci, Paola Barale, Sharon Stone, Tatjana Patitz, Veruschka, Vivienne Westwood. TO L’ORÉAL WHO HAS BUILT WITH US 30 YEARS OF PASSION A SPECIAL THANKS FOR THE PRECIOUS HELP IN BUILDING THIS OPERA: Federica Coppola, Samantha Fontana, Antonietta Stoppani, Stefano Asnaghi, Giovanna Genta CONCEPT DESIGN and ARCHITECTURAL PROJECT Riccardo Lattuada GRAPHIC DESIGN Elisabetta Presotto WRITTEN TEXT by Maria Vittoria Pozzi Regione Lombardia, OPERATIONAL and ARCHITECTURAL SETTING by ABS Group VIDEO SETTING by STS Communication, VIDEO CREATION by Moufactory, VOGUE ITALIA 

Area 2 - patch frame (Area)

Aldo Coppola – the hair guru who became an enterprise – was the first hair stylist to establish a strong, ongoing relationship with the media in all its myriad forms: glossy magazines, women’s magazines, marketing and advertising. It was in part because the press immediately took notice of this child prodigy who was ahead of his time and threw tantrums because he didn’t want to use a hair dryer and curlers, and in part because it was very natural for Aldo to interact with the fashion world and work on the set with the most talented photographers, from Elgort and Oliviero Toscani to Gian Paolo Barbieri, Peter Lindbergh, Helmut Newton and Fabrizio Ferri. He had a long-standing professional relationship with Vogue Italia, Elle, Cosmopolitan and Linea Italiana. Franca Sozzani, who was the editor of Vogue Italia, once said: “Aldo was one of the first – or perhaps the very first – to transform the status of the hairdresser. He is a star and an integral part of the fashion system. A statement. A guarantee of quality. ‘I’m going to Aldo Coppola’s’ already says it all, meaning that you’re going to the best”. Aldo was the first to work with major magazines and reinvent the looks of famous people and celebrities, but he also collaborated with Italy’s greatest fashion designers – Giorgio Armani, Versace, Alberta Ferretti and Missoni – and worked with Dior and Chanel. Today he would be a major influencer and not only in his field. He was tireless, working backstage from early morning until the show was over, tweaking, changing, and discussing the hairstyle directly with the designer, seeing what worked and what didn’t. And meanwhile, he gave us beauty and fashion journalists a preview of what was new, fresh and innovative. He may have been tired, with dishevelled hair, but he was always happy to be tired. When I was a young intern at Glamour, he would tell me, “It’s wonderful to be able to do something you love as a profession”. Meanwhile, he would clip a lock of hair, trim bangs, and give you a special recipe from Oltrepò Pavese. He understood everything immediately, before anyone else: back in 1961, for his first fashion show for Biki, he realized the importance of listening and complete communication. The fashion shoots, runway shows, advertising campaigns and branding consultancies multiplied year after year. As a result, in 1980 he created The Agency with great professionals who worked with fashion shows, the media, events and productions. For Aldo, communicating and being at the centre of this world were vital. Even in his salons there was a different atmosphere, from the very first one on Via Manzoni that opened in 1966 and immediately became the place to be and be seen. Going to that salon meant being one of the people who count in a city that was still not as exhibitionist and vulgar as it was the eighties (with its club-hopping parvenus). Back then, Milan was already the harbinger of great changes in Italian customs and lifestyle. But besides the photo sessions and major events, Aldo Coppola wanted the world to know his story; it is impossible not to mention the art books that he made with great photographers such as the one dedicated to Carla Bruni and shot by Javier Vallhonrat. “A tribute to women!” he liked to say. He also made many calendars as a co-partner with L’Oréal Group: in these small masterpieces published from 1987 to 2010 Aldo let his creativity soar. His visions of feminine beauty and almost unattainable horizons told a precise story that surpassed stereotypes and revealed the many different facets of a woman. It was a new and alternative way of communicating never seen before. From Milan, the exact centre of a Europe still divided in two, his fame spread, becoming a reference point for international beauty. As a matter of fact, he didn’t miss an opportunity to promote his brand at the World Cup games: in 6 hours he and his team did the hair and makeup of 196 models appearing in the memorable Italia 90 opening ceremony.

Area 4 - portraits (Area)

The section devoted to portraits is one of the most spectacular. It’s an endless gallery of beauty, or rather, beauties. But how truly beautiful can women be when one captures their essence? Very beautiful and it does not always happen, it occurs thanks to a magical alchemy between the model, the image maker and the photographer. Gian Paolo Barbieri, Fabrizio Ferri, Giovanni Gastel and Oliviero Toscani are just some of the excellence personalities that Aldo Coppola has worked with. He who would style the hair of stars and celebrities with the same frenetic passion and quiet concentration with which he styled the hair of the wife of a commendatore, always recommended: “Try to never betray yourself, be yourself”. He lived in the midst of beautiful women: he transformed them, ruffled them, provoked them, scolded them – and always with grace and a critical eye – “judged” them, but only to bring out the best in each of them. These portraits, in fact, grab the attention because they never simply capture the moment, but also the before (and therefore the past) and the after (future projects): as if they had stolen a piece of the subject’s soul. It is like the story of The Picture of Dorian Grey in reverse, as no picture looks dated. A compendium of extraordinary teamwork, the professional and human contribution that he has made to fashion and to many people is incalculable. It is even more incalculable how this legacy continues to be an example of professionalism in the world of marketing and communications. You can experience it by visiting his salons and it becomes even more tangible if you think of the Agency Aldo Coppola, a source of ideas in the fashion world while developing branding and communications strategies. He was the first real and authentic Italian image maker. Today I could imagine him hosting a talent show or judging America’s Next Top Model. “I remember Monica Bellucci who accompanied a friend to one of Aldo’s shows. He noticed her and said to her ‘You should be a model’. He called Oliviero Toscani and two months later Monica was the cover girl of Elle. Tatiana Patitz, Christy Turlington, Cindy Crawford, Nadege and Jasmine were all smart girls with whom it was a pleasure to work. They interacted, followed his instructions and didn’t show off. Ever”, says his daughter Monica, who has fond memories of Sharon Stone, Julia Roberts and Charlize Theron. “The more stars there were, the more I found great responsibility”, she concludes. Here not only are they all beautiful: the models are no longer just models; the actresses are no longer actresses. All without distinction became archetypes of beauty, with an incalculable allure that surrounded them, for example the breath-taking beauty of Madalina Ghenea or the wonderful vastness of the gaze of Kasia Smutniak. There was never a mishap on the set, no small hiccup during these important productions. “Only a few hairdryers cutting out backstage”, his collaborators recalled. What is the mystery of so much beauty? And how many beauties can a woman harbour? He preferred this last step so much he made it the theme of his work. He adored some models, such as Marpessa and Linda Evangelista, because of their great ability to transform themselves into another, excuse me, into others. He left a precious heritage even to those who worked in close contact with him, as remembered by Riccardo Cioni: “Aldo was surprising because he had you sit next to him and you felt like one of his disciples, but he did not think to be a god and was surprising because his talent was an inner message of beauty, understandable to all”. His visions and his sentiment are well expressed by the stylist Chiara Boni: “I have snapshots in my head, where I always see him at work, devoted to his mission of beauty. I admired Aldo as he devoted himself to his clients for his entire life with the same passion, constantly engaged and making each one feel special with an enviable enthusiasm and a feverish desire for renewal. The ability he had, day after day, to offer his talents unreservedly made him the sensitive artist and valuable friend we all knew him to be. My old affection keeps the style intact”. 

Area 5 - infusion (Area)

There is no art if there is no trade. And trade also means being up to date on the cutting edge of research and technological innovation of cosmetics and treatments. What the world of hairdressing has learned thanks to Aldo Coppola’s intuition and sensitivity has been nothing short of remarkable. For the first time, there was talk of “natural”, a concept that now seems trivial, but 40 years ago was not trivial at all. “One of the most beautiful images of a woman is when she is watching the sunset and there is a little ‘wind in her hair ...”, he would say. He loved nature perhaps more than anything else, and in nature, he specifically loved his estate in Oltrepò Pavese where he loved to escape with his beloved Franca, whom he married at the age of 22. She was 16. Aldo was the prophet of nature in all its many facets: in drying hair, and also in brushing, in the end result and, last but not least, in the choice of high-performance and yet always gentle products, preferably environmentally friendly. It is from these guidelines in fact that the partnership with L’Oréal originated. The first change came suddenly in the eighties. “Everyone was blonde in Milan and Aldo couldn’t take it anymore. So, after several experiments with nettle and concoctions made from onions, earth, herbs and yogurt, working with his brother Antonio to experiment with mixes he was able to perfect the legendary henna, which he immediately recommended to his top clients. Thus, the Coppola red was born”, recalls Monica. Voilà the first natural dye par excellence: henna revised and updated, that is, mixed with natural herbs, walnut, vegetable oil (not olive, because it consists of macro-molecules that do not penetrate the hair), and yogurt. The result? More natural colour and hues, which do not compromise the good health of the shaft and cuticle. The next step of the Natural school of thought came in the mid-nineties. His eureka moment occurred in the Maldives during a photo shoot with children. “How come we can’t recreate the effect of the sun on the hair?”, Then the flash of inspiration: “bring back in a different geometry a technique that had already been created in 1973, that is to work the lightening by backcombing the hair vertically in the way the sun falls on the head!”. And so it was. The name? The idea came from the texture of shatush scarves that are like a thick spider web. And still today Shatush is not only a precise and innovative colouring method, but the nickname of a type of trendy and non-invasive dyeing. It reached such a high level of popularity that in 2001 Aldo, Jr. decided to brand it and turn it into a specific tricological line. Today it is distributed in the Atelier Aldo Coppola and the Go Coppola salons. Always respecting the hair, in the Nineties, Aldo, together with Stefano Lorenzi (his partner in the Atelier in Manzoni and Artistic Director at the Academy), invented other interesting colouring techniques, such as the Miami and the Sombrero, so named because, to implement it, a large head covering is used, with only the tips protruding. The final effect was that of a long holiday at the beach: golden highlights and hues only on the ends of the hair. The success was such that L’Oréal decided to popularize and democratize the technique and formula around the world. The continuous desire for innovation and research, combined with the study of unique formulas, but always faithful to the brand, brought another great innovation to the Atelier Aldo Coppola salons: Infusion, a new natural colour for the hair. Designed by Stefano Lorenzi in 2013, and perfected in the Aldo Coppola partner laboratories, it is a natural concentration of processed herbs like wine and organic plant ingredients that gives the hair fibre strength and brightness. Practical, fast and 100% natural, it is used to tint white hair to red, blond or golden brown. This idea gave impetus to a new unique formulation of herbs and amino acids combined with henna and which this year will be launched in all the salons by the name of Infusion Aldo Coppola. The treatment has once again revolutionized the gestural art of colour care, giving women an irresistible line of harmonies to rekindle their charm and simplify their beauty routine, while giving their hair a unique element of style and personality. From past to future, keeping one’s roots alive... 

Area 6 - inspiration... ... (Area)

If Aldo Coppola became a landmark in the world of international beauty and image, it is due to his collaboration with the best designers in the fashion industry, with the best photographers, the major glossy magazines, and to his valuable contribution to fashion shows and advertising campaigns, but not just this. It is mainly due to his initiative to take the roads which have never been travelled. Like the production of precious Artbooks and Calendars that crowned his partnership with the L’Oréal group. They were productions with a precise objective: to let creativity run wild and make sure the concept and pursuit of beauty did not remain abstract but became real content. The good fortune of being able to realize these projects was due to meeting managers of great talent like Dr. Galli and Dr. Chiusano, General Director of L’Oréal. They were managers who always invested in the search for beauty and creative culture, making the elevation of the status of hairstyling even more a necessity. Thus in 1986 the “marriage” of Aldo Coppola and L’Oréal was celebrated, from which sprang events, projects and books of the highest content. They were magnificent and of great value from all points of view. Unforgettable. And behold, hair, always treated as a living material, created and creates, thanks to the vision of Aldo and his daughter Monica, and of Stefano and Adalberto and Mauro, an infinite repertoire of new volumes, unexplored shapes and unusual geometries. But where did the idea for a new story, a theme or a campaign come from? “The inspirations were many: a movie, an exhibition, a journey or simply a ‘feeling’ in the air that something was changing. Usually I was the one who took care of the research. I remember, when I proposed the theme of recycling, he first gave me a dirty look (like: “are you crazy?”), then suddenly he understood it. An hour later, he was already inside the story: Diva and Oasi by Fabrizio Ferri, the effect of C’era una volta and Natura magica by Vallhonrat, ice, cartoons, I have so many great memories with him”, says Monica, smiling. Were there never any accidents, any hitches? “I would say no. It was like traveling beyond time. I remember the effort, it was a marathon, and anxiety grew for increasingly tight deadlines. Everything had to be created and produced in two days. But my father had the intelligence to get everyone to work, and work a lot and well. He valued talent. And we did it...a great team...”. Realising a plot and telling about a trend through a storyboard transformed and transforms still today into a new adventure towards different forms of experimentation. Also Cristina Lucchini (director of Glamour), then a young fashion editor, remembers precisely this about those sessions with Fabrizio Ferri: “I watched, enchanted, as his magic hands created sculptural masterpieces out of hair, dreamlike visions and superfashion fairies. Fast, safe, as only the greatest talents know how to be”. And who can forget the story for the artbook with Carla Bruni, a performer of a comic book woman with a thousand identities, ironic and sophisticated, but very modern? The relationship with fashion was changing and women sought greater lightness, irony, play. “He wanted Carla Bruni at all costs, because she was Italian and yet already internationally renowned, because she was beautiful, but not the most beautiful, divorced from the classic female beauty stereotypes of those years. Sophisticated, chic, but also a tomboy. Friendly, easy-going, but very snobbish. In short, perfect”. Aldo in the salon with customers and Aldo on a photo shoot: was he different? “Absolutely not. He was himself. Humble enough to always question, he was demanding, perfectionist. He could not stand a lack of professionalism nor those who were not respectful or looked down on others. Styling Marpessa (ed. supermodels of the Nineties) and the “‘sciura’ of Borgonovo street” were the same thing. It was better to have him as a Maestro than as a father. Aldo was a very strict dad and kinder with the boys of his salon”, says Monica. The artistic experimentation that the Aldo Coppola team put into circulation with the production of artbooks and calendars (the unforgettable Twins by Oliviero Toscani) reinforced the image of Aldo as a hair artist in the world and enhanced the corporate values of his brand. So much so that it was not long that awards and accolades began to pour in, such as, for example, in 1990, when the calendar Acqua won the award for best international artistic expression. Aldo’s merit, and those who succeeded him, was in having created with strength, courage and passion a company, a strong brand that still pulsates with creativity and ideas, and that does not get tired of looking to the future with new eyes and with other projects. Recognized as a hair artist, his brand will continue to espouse the values of art, professionalism, excellence, design and wellness. 

Area 7 - colours (Area)

Geniality means personalizing and, through one’s own work, telling the story of a flow of emotions or simply a state of mind. And a true hair artist like Aldo Coppola could not leave out the element of colour. He did this especially when creating art books and calendars for L’Oréal, once more anticipating trends and aesthetic models that would find great acclaim among the youth of today. Shocking pink locks, layered tips of fluo green and blue teasing — in fact, millennials, who in their relentless pursuit of their own individuality always go for light and colourful accessories and strokes, would like his work very much. In short, what Aldo did, before his time, in the 1990s through 2010 for L’Oréal’s calendars, together with his daughter Monica (his right hand and talented artistic collaborator), is now extremely topical. Suffice it to recall some publications that he produced with the photographer Fabrizio Ferri such as Future Portraits of 1998 or No Time of 2000, where the artiststylist- hairdresser, thanks to his use of unusual bright colours, shaped hair in an almost miraculous way. It is no coincidence that the hair stylist would often say: “The coiffure is always something between art and magic. Something that is born at one’s fingertips”. It is no wonder, then, that some hairstyles seem to result from almost plastic strokes in primary colours and otherwise. Not to mention that the choice of strong colour tones not only charges the image with an emotional impact, but invites the interlocutor toward a new stylistic study. One would say above all: a true creative fervour. But, getting back to the colour palette, in these pictures one finds blue, preferred by the painters of almost all the artistic movements of the 1900s, specifically here Blue Klein, that saturated and luminous ultramarine invented by Yves Klein himself. There is an intense red, not found in nature, that at its extreme becomes a bouquet of flowers in hair. There is all the sacredness of gold, a colour dear to Gustav Klimt, and the narcissism of silver, a shade chosen by Andy Warhol for his Silver Factory. From colours to special effects, where the hair texture is transformed into another substance or seems to be lit from within. “They were the years of the Japanese fashion of Yamamoto and Miyake, and Aldo’s guidelines were: treat hair as if it were an abstract form. The concept was to create strong images, as if they were surreal visions and the touch of colour became the means to achieve these extraordinary hairstyles which are dressed up like couture, “says Adalberto Vanoni, now artistic director of the Academy. Constructing a new idea of beauty was in Aldo Coppola’s nature, like the feverish desire for research and innovation, which meant for him not stopping and never ceasing to experience his own creativity. “Demanding and a perfectionist — his daughter remembers him — but also a clean and inexhaustible charge of energy”. His visions did not remain trivially an abstract concept, then, but became interesting stimuli, a beginning of something unexplored on which to work on. “I am inspired by the opportunity to always put in contrast dream and reality”, he would say, even if he did not like being called Master at all, nor being defined as an artist: “Hairdressers must create strength, unity and compactness and give up the story of being artists. Leonardo was an artist. I prefer to call myself an angel come from heaven to take care of women’s hair, and give them a mane and a unique and irresistible image”. His talent and genius however, were something of value and Aldo received, unsurprisingly, awards and accolades from around the world. His experimental use of colours, especially natural ones, became his signature style in the salon and elsewhere. To the point that it technically became part of his most famous treatments and the heart of the most innovative formulas of his cosmetics line with the same name. 

Area 8 - wave (Area)

Like greige for Giorgio Armani, red for Valentino and tuxedo for Yves Saint Laurent, waves are the signature style of the Aldo Coppola salons. Extra-long, minimal, smooth and thin, or curly and very full-bodied, all hair types are subject to the motion of waves. The waves are like the artist’s signature, authenticating the originality and nonrepeatability of the work, and never has hairstyling virtuosity been so important for staging such a wonderful creative universe. All to be explored and discovered. “Waves tell the story of his soul. Aldo, on the surface an alpha male, actually had a soft and undulating soul. A unique insight comes from his feminine ego. That’s why women adored him. He ‘read’ and ‘transformed’ them...”. Pomaded à la garçonne, in movement throughout the lengths, or sculpted on the coiled heads, waves entered in the repertoire of the hairdresser with an ultra-chic aesthetic imprinting. It is no coincidence, in fact, that Aldo invented, in 1983, a cutting technique dedicated to them, which could then enhance and perfect waves after hand drying, without of course using any brushes. And it was immediately after this that he developed a permanent that he achieved using a set of plastic tubes. Waves forever. A leitmotif which, while remaining true to itself, changes through the ages: impertinent in the Thirties, fatale in the Forties, ambiguous in the Fifties and decidedly bon-ton in the Sixties. Aldo indiscriminately loved all the versions and immediately made them his own, making them modern, contemporary. You can see it when perusing these images: limited edition waves of various shapes and sizes. No two are alike, and each one fits the personality of this varied universe of women: actresses and supermodels. Women, however. Crystallized, more or less composed, sculpted, minuscule, or macro, for all, the common denominator is again naturalness. It is as if their mission was to enhance any type of face. A real lesson in haute coiffure. If a few minutes suffice to change clothes and make-up, it is not the same with a cut or hairstyle built on moving waves. The hair resumes its shape and volume, and becomes an expression of a more composed elegance, with the desire for a return to the true hairstyle, pure style that is never mass-produced. Here we read talent, technique, professionalism, and above all passion. Some have said that waves are a metaphor of his personality. Nothing is more true. Aldo was energy, movement. He hated the static, never putting himself in the discussion. Intelligent, curious, studious (“I hated school, but not learning”), a keen observer, he knew how to see into the future and, at the same time, was able to realize the present. Perhaps the only great interpreter who has managed over the years to keep up with the French école of hairdressers and gain an international reputation. He boasted of it and he was right to do so: “My greatest pride? Being able to make people appreciate Made in Italy in the world also in my own field”. 

Area 9 - breaking th... ... (Area)

What can be said of a young hairdresser who, in the respectable Milan of 1967, decided to do layered cuts of dry hair? And, not satisfied, put to shame the traditional drying with curlers and “cooking” time under the hair dryer? Like it or not, Aldo Coppola’s cut was soon to become a real statement and synonymous with hairstyles that are never crystallized and always surprisingly in motion. Never the same and never approved. Much of his success was in his innate ability to quickly find what suited every woman. “He looked, and within seconds had already figured out the proportions, the nature of the hair, where he needed to reposition the volume and movement”. Tightening also his collaboration with prestigious newspapers and designers on the rise, Aldo was an ongoing laboratory of ideas and the cuts of his scissors, season after season, became more and more famous and popular. Before others, he realized that a woman’s needs had changed, and, while fashion was still an abstract concept, he was already riding the revolution of tradition and reshaping a new aesthetic, more in tune with the times. Particularly interesting and fruitful was his collaboration with Giorgio Armani, whom Aldo always esteemed. Fascinated by the beautiful vision of Maestro Giorgio, the hair guru created a multitude of cuts and hairstyles. Minimal, design, à la garçonne. His esteem was of course reciprocated regardless of profession. Giorgio Armani said of him: “He was a person with whom I felt in complete harmony. I shared his sense of beauty and value for work and professionalism. He was a true friend as well as a professional point of reference”. Long side locks, non-fringe fringes that became wispy, jagged layering at strategic points, the micro-commas that marked the features, the volumes on the back of the neck and the earliest shaves... Lots of stuff. So much that in 1994 in Milan he gave life to an academy to transmit his knowledge. A place to share, thanks to the valuable work of his closest collaborators, his experiential background and all his expertise. A system to mould qualified professionals and give them the possibility of a springboard to a real Atelier Aldo Coppola. A serious means to create the Franchising By Coppola system. “Once Aldo, coming back from Cosmoprof, forgot a pair of scissors in my car. I returned them with a note: I tried them but they didn’t work for me. I had hoped they were magical,” said Marco Vasario, General Manager of L’Oréal. In fact, a few cuts of the scissors, well-directed, and clients in his Atelier came out galvanized in ego and not. Intuitive, attractive and with a good load of sex appeal, “He freed a trade from provincialism, making the hairdresser a major guru of image. He was at that time a handsome man, and it became a pleasure to rely on his experience and put yourself in his hands. He gratified your desire to see yourself the most beautiful, but above all most feminine and charming,” says Marina Moretti of Marie Claire Italia. A few minutes in his hands, and you magically felt like a supermodel, a little like his friends who actually were supermodels. He made no distinctions. Among the many tricks and different cuts, the Crochet went down in history, a new cutting geometry that broke with the past and with the classic lines. It was conceived while he was making the calendar Acqua in Pantelleria. The technique allowed him to cut hair faster and create volume never seen before. The final effect was very natural, of course, and much more lasting. While hair and hairstyles always blend more with fashion, in the years that followed, new cutting techniques developed. Between 2010 and 2013 one will remember the Torchon, the Apache and the Dandy styles. Monica, a little later, would experiment with the Sound Cut, which redraws new forms, staying true to its natural side. And yet the art director Stefano Lorenzi, to achieve fabulous teasing and equally sophisticated hairstyles, would present the Ghost, the first scissors in the world that do not cut but which create new volumes, making sure that every detail will become not just a simple technical device, but above all decisive for the outfit. Aldo Coppola embodied the true haircutting revolution, his geometric breaks (even with the past) created new forms and dimensions, which today are the basis for inspiration of the stylists of the Coppola salons, most notably his daughter Monica and Stefano Lorenzi. 

Area 10 - looking at... ... (Area)

Ideas, inspirations and quotes. One of the passions of Aldo and Monica, in addition to nature, was travelling. They travelled not so much for pleasure, but above mainly to shoot calendars and for fashion assignments. They learned cultures and traditions of distant lands, from Asia to Africa, as they plumbed the depths of the beauty rituals of women of many countries. Contaminations of styles would immediately catch the eye when flipping through the calendars created with L’Oréal. Guess who were Aldo’s favourite fellow adventurers? Oliviero Toscani, who remembering him wrote: “We travelled together and we visited the most beautiful places in the world, sharing our vices, our passions and our bullshit. We always laughed together like when we were kids. Me, son of the photographer of Corso Como, and him, son of the hairdresser of Via Borsieri. We even happened to sleep together!” The partnership with Fabrizio Ferri was solid and productive. With him he created 13 beautiful calendars and art books, again for L’Oréal, from World of 1990 to Oasis of 1995. Unforgettable and still very contemporary works. Deserving of special mention is the challenge to created another L’Oréal art calendar, Nanufer, with photographer Barry Lategan and with the valuable advice of Lucia Raffaelli, the legendary and tireless fashion director of Vogue Italia. All these experiences enriched his creativity and the tastes of many generations to come with a series of ethno-tribal styling, featuring strokes of colour and afro details including juxtaposing hair with varied decor motifs such as ribbons, necklaces and jewellery. Africa would seem like the preferred continent: Masai women of Kenya and Berber women in Morocco, dreadlocks, braids more or less close to the head, locks treated with henna and coloured powders held back with hair clips of ethnic flavour, just like the styles and costumes of exotic countries. Not a coincidence that the new system of cutting + colouring he invented in 2001 would be renamed Masai, once again shaking up the more traditional cutting protocols. The goal was to allow the hairdresser to best express him or herself when faced with the most bizarre creative forms. Yes, travel! But he travelled also in time with TV productions like the show Women Under the Stars in 2003, in partnership with L’Oreal, where Aldo’s art was the star of a show dedicated exclusively to his hairstyles. Not to mention the countless shows around the world for the experts: Tokyo, Buenos Aires and again in the Nineties, Caracas, New York, Paris. These were unprecedented successes in the history of the world of coiffure, which were followed by launching salons in various countries. The first Atelier opened in Monte Carlo in 1994, then in Moscow in 1995 (today there are 12 salons and 10 franchises). In early 2002 it was Tokyo’s, Kiev’s and Odessa’s turn. Even though Aldo took his real world tour on the centennial of L’Oréal in Paris (the only Italian in the French company’s history to attend the Parisian ghota) for an audience of 8000 people from 78 different countries: he would receive a standing ovation of 15 minutes. He doubled his success in Milan, before conquering London, not an easy market for trendy hairdressing. Switzerland followed, and more recently, the expansion to the UAE. The scenes change, but the worlds to be explored seem to never end. And much has been built thanks to the passion, the professionalism, dedication and creativity of his daughter Monica and all of his partners. Thanks also to all those who transfer their know-how in the Academy and around the world, who follow fashion shows and photo shoots with the same passion as Aldo and, last but not least, thanks to the entrepreneurial vision of his son Aldo Coppola Jr., who since 1986 has developed the company and spread the brand beyond the Alps. And there’s more: “We will focus this year on Jeddah, Doha and Dubai, and again on Europe with Barcelona, Istanbul, Prague and Budapest, before flying oversea to Miami”. The mans who hesitates is lost. In parallel with the Ateliers around the world, an expansion of the Academy, the creation of a campus where new professionals would be trained, and a new distribution network of Aldo Coppola luxury products are planned. There is still much to do... 

Area 1 - biography (Area)

Aldo Coppola (1940-2013) was only 14 years old when he went to work in his father’s shop. He did not much like studying and to wash hair he had to climb on a stool. At 16 he was already a Maestro d’Arte and ten years later he opened his first salon on Via Manzoni 14. He did not yet have clients, but he had many beautiful ideas in mind: setting up different spaces in the store, and therefore throwing out the hoods and curlers and reinventing the concept of cutting and styling. If the first is done on dry hair, the second will be more natural, if done by hand, a brush and a hair dryer. Almost simultaneously, after consulting with Biki for a fashion show at Pitti (“I had no more hairpins and I was missing 5 models!”), a renowned designer of the time, his passion and curiosity about the world of fashion exploded, and his creative and stylistic abilities soon got noticed. There began his collaboration with the great designers of Italian ready-to-wear and with the most famous newspapers and magazines of the time. His experience, which matured on photo shoots working alongside great photographers, did nothing but enhance his professionalism. Carlo Orsi, Norman Parkinson, Gian Paolo Barbieri, Oliviero Toscani, Helmut Newton, Barry Lategan, Fabrizio Ferri, Giovanni Gastel and David Bailey valued the inspiration of his hairstyles, making him known in London, Paris and New York. Here is what the great Giovanni Gastel said when thinking of Aldo: “What struck me when I met him for the first time in Cernobbio was his sympathy, his great availability and his sense of humour. A few minutes with him and his joy would infect you. And I carry it with me always when I work, as he taught me to do. ‘Because you have to be happy to do a job that you love’, he would say. He was already a legend. And I, who as a boy I was a national tennis champion, realized one basic rule: when you play with a great, you play better. Working with him was like this.” In 1976, the opening of the Piazza San Babila salon and in 1979 the launch of his first cosmetics line with his name followed. The next year the Agency was created. It was the first Italian agency to offer services and consulting on makeovers, makeup and wigs, to use the jargon of specialists in the fashion and advertising world. Productions, shows, campaigns in Italy but also abroad consecrated Aldo Coppola as the most creative and innovative hairstylist in the world, at the highest level. Gian Paolo Barbieri, the first great aesthetic photographer of Italian fashion remarked: “Despite being far away, I always think of Aldo, of how he would still be of help when I have difficulties creating beautiful images. One of his last works was for Vivienne Westwood with the help of the great Anna Piaggi. We were inspired by the works of Hans Holbein, and Aldo created absolute masterpieces on the heads of Jerry Hall and Vivienne Westwood. Later he created the Veruska images for the German magazine Die Zeit”. Another big meeting that marked his career and his inspiration was in 1983 and 1986 with the group L’Oréal. It was much more than an ordinary partnership, but a true friendship, profitable from every point of view. This was reflected in the dense production of Calendars, Artbooks and the organization of events and artistic Shows (at Cosmoprof in Bologna and in the world), which also attracted 8.000 -10.000 spectators. Aldo was a star and his ability to attract interest and move the crowds was unique. How can we forget the show in 2012 in Turin at the Palaisozaky to the tune of Bocelli? There would never be enough adjectives to “tell about it”. Simplicity is the first. As Gian Paolo Barbieri remarked: “He was of an extreme simplicity, he never gave himself airs, he was always an ‘artist’ and a great one. He never failed to surprise me. He arrived on the set with bottles of Lambrusco and some salami, which he procured from his estate in Oltrepò Pavese, where he lived. He was always a true artist and truth is always beauty”. There has never been anyone like him. Generous, passionate and stubborn. A very strict and demanding father, say his children. “If my mother was and is the glue of our family, our home, our haven, with dad the relationship was not easy. Very demanding, of few words and no-nonsense. I learned that by working with him. At 16, he put me to work at the shampoo basin and paying my dues was hard. I earned his respect after the contract I brought home with L’Oréal and the show in Tokyo, during which I introduced Philippe Starck to him, who at the time was still unknown”, says Aldo Jr. Surely being the son of someone who had made an art of his profession must not have been easy. It was like living next to this volcano of ideas, remembers Franca, who became his wife at only 16 years old. “We were two volcanoes shared the same passions: family and the countryside. In the early years, I worked beside him in the salon, then, with the birth of our children, I dedicated myself to our home (at Casa Colombi, a small village between Broni and Stradella) in Oltrepò Pavese. It was our haven where he loved to welcome friends and share his passion for horses and good food. He always demanded a lot, especially from us. What do I miss? I miss everything about Aldo, not his impatience, but his laugh and his comments when I changed the appearance of the house, rearranged the furniture and changed the furnishings”. Just to give some impressions of the “private” Aldo. “A delightful host! He cooked – like all great creative people – very well”, remarks the director of Glamour Cristina Lucchini. Franca’s best memory? “A trip to Madagascar, though, after a week traveling around, he wanted to go home. He missed work”. It is extraordinary to think what he did and created with hair. “I owe him my conviction that hair exists to be cut. Every time his scissors got close to my hair, I felt an uncontrollable impulse to cut it as much as possible. A real pleasure. The sorrow was then having to wait for it to grow back in order to be able to cut it again”, said Ariela Goggi, assistant director of Vogue Italia. Travelling, the shows and the new philosophy for the new Ateliers kept him always on the move. It was difficult to find him not working on a project! Redesigning new spaces for new Ateliers of wellness and private salons was his passion and until the last days of his incredible and rich life, he taught and shared his advice with his young guys. The show must go on! 

Area 6 - inspiration... ... (Area)

If Aldo Coppola became a landmark in the world of international beauty and image, it is due to his collaboration with the best designers in the fashion industry, with the best photographers, the major glossy magazines, and to his valuable contribution to fashion shows and advertising campaigns, but not just this. It is mainly due to his initiative to take the roads which have never been travelled. Like the production of precious Artbooks and Calendars that crowned his partnership with the L’Oréal group. They were productions with a precise objective: to let creativity run wild and make sure the concept and pursuit of beauty did not remain abstract but became real content. The good fortune of being able to realize these projects was due to meeting managers of great talent like Dr. Galli and Dr. Chiusano, General Director of L’Oréal. They were managers who always invested in the search for beauty and creative culture, making the elevation of the status of hairstyling even more a necessity. Thus in 1986 the “marriage” of Aldo Coppola and L’Oréal was celebrated, from which sprang events, projects and books of the highest content. They were magnificent and of great value from all points of view. Unforgettable. And behold, hair, always treated as a living material, created and creates, thanks to the vision of Aldo and his daughter Monica, and of Stefano and Adalberto and Mauro, an infinite repertoire of new volumes, unexplored shapes and unusual geometries. But where did the idea for a new story, a theme or a campaign come from? “The inspirations were many: a movie, an exhibition, a journey or simply a ‘feeling’ in the air that something was changing. Usually I was the one who took care of the research. I remember, when I proposed the theme of recycling, he first gave me a dirty look (like: “are you crazy?”), then suddenly he understood it. An hour later, he was already inside the story: Diva and Oasi by Fabrizio Ferri, the effect of C’era una volta and Natura magica by Vallhonrat, ice, cartoons, I have so many great memories with him”, says Monica, smiling. Were there never any accidents, any hitches? “I would say no. It was like traveling beyond time. I remember the effort, it was a marathon, and anxiety grew for increasingly tight deadlines. Everything had to be created and produced in two days. But my father had the intelligence to get everyone to work, and work a lot and well. He valued talent. And we did it...a great team...”. Realising a plot and telling about a trend through a storyboard transformed and transforms still today into a new adventure towards different forms of experimentation. Also Cristina Lucchini (director of Glamour), then a young fashion editor, remembers precisely this about those sessions with Fabrizio Ferri: “I watched, enchanted, as his magic hands created sculptural masterpieces out of hair, dreamlike visions and superfashion fairies. Fast, safe, as only the greatest talents know how to be”. And who can forget the story for the artbook with Carla Bruni, a performer of a comic book woman with a thousand identities, ironic and sophisticated, but very modern? The relationship with fashion was changing and women sought greater lightness, irony, play. “He wanted Carla Bruni at all costs, because she was Italian and yet already internationally renowned, because she was beautiful, but not the most beautiful, divorced from the classic female beauty stereotypes of those years. Sophisticated, chic, but also a tomboy. Friendly, easy-going, but very snobbish. In short, perfect”. Aldo in the salon with customers and Aldo on a photo shoot: was he different? “Absolutely not. He was himself. Humble enough to always question, he was demanding, perfectionist. He could not stand a lack of professionalism nor those who were not respectful or looked down on others. Styling Marpessa (ed. supermodels of the Nineties) and the “‘sciura’ of Borgonovo street” were the same thing. It was better to have him as a Maestro than as a father. Aldo was a very strict dad and kinder with the boys of his salon”, says Monica. The artistic experimentation that the Aldo Coppola team put into circulation with the production of artbooks and calendars (the unforgettable Twins by Oliviero Toscani) reinforced the image of Aldo as a hair artist in the world and enhanced the corporate values of his brand. So much so that it was not long that awards and accolades began to pour in, such as, for example, in 1990, when the calendar Acqua won the award for best international artistic expression. Aldo’s merit, and those who succeeded him, was in having created with strength, courage and passion a company, a strong brand that still pulsates with creativity and ideas, and that does not get tired of looking to the future with new eyes and with other projects. Recognized as a hair artist, his brand will continue to espouse the values of art, professionalism, excellence, design and wellness. 

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