There is an anecdote from the 1967 Pitti tradeshow that entered the history of fashion. Everything was set for Rosita and Ottavio Missoni's catwalk when, at the last minute, Rosita noticed that the models' underwear clashed with the futuristic and thin lamé knits of their designs. Thinking quickly, she decided to send the models out without anything underneath. The decision caused a scandal but also marked a turning point in fashion, as Rosita inadvertently pioneered the "nude look."
The Pitti organizers were outraged, and the Missonis weren't invited back the following year. Yet, critics and buyers were captivated, and the incident cemented the Missonis’ reputation as innovators.
For decades, Rosita and Ottavio stood as the ultimate power couple in knitwear, reshaping Italian fashion with their bold vision and fearless creativity. Ottavio, affectionately known as Tai, passed away in 2013, and Rosita Jelmini Missoni, a trailblazer in her own right, died today at the age of 93.
Rosita Jelmini first met Ottavio in 1948 while she was studying in London and he was competing in the London Olympics as part of Italy's 400m hurdles team. Their connection blossomed, leading to their marriage in 1953.
Building on Ottavio's experience in garment manufacturing - he had collaborated with fellow athlete Giorgio Oberweger to produce the iconic "Venjulia" knitted tracksuits for the Italian Olympic team - the couple founded their first factory, Maglificio Jolly, in the basement of their Gallarate home. There, Rosita's instinct for color and design flourished.
While they produced designs for Biki, in 1958, they began making their now-iconic colorful striped shirt dresses for La Rinascente. Over the years, they developed innovative methods, working with new materials and bold color combinations to redefine elegance.
The zigzag patterns that became their signature, a variation of the more classical horizontal and vertical stripes, were a testament to their keen eye for individuality, made using creatively the Raschel knitting machines.
The 1960s marked a transformative period for Rosita Missoni and her husband Ottavio. The couple worked with Christiane Bailly and, in 1964, traveled to Paris to team up with Emmanuelle Khanh. This partnership culminated in vibrant catwalk shows at the Gerolamo Theatre and at the Solari swimming pool in Milan, events showcasing their shared passion for innovation.
After the infamous Pitti scandal, American buyers embraced Missoni’s "put together" aesthetic that allowed customers to mix and match garments, allowing wearers to create unique styles that reflected their individuality.
Prominent fashion editors such as Anna Piaggi and Diana Vreeland championed the brand, paving the way for its international acclaim. This recognition reached its pinnacle in 1973 when Rosita and Ottavio received the prestigious Neiman Marcus Fashion Award, cementing their place in the fashion world.
The brand's signature aesthetic took form, combining luxurious materials like wool, mohair, silk, cotton, elasticized yarns, and Lurex to craft bright and bold patterns.
Quite often the designs were also a tribute to art: the vibrant, pictorial graphic effects they developed at times evoked the dynamic works of Futurist painters like Giacomo Balla, Umberto Boccioni, and Carlo Carrà. This artistic connection was celebrated as early as the 1970s, when the first exhibition analyzing Missoni’s work from an artistic perspective was held in Venice. Later, their creations were showcased at the Whitney Museum of American Art, solidifying their reputation as artists of knitwear.
In 1981, Ottavio’s patchworks - deeply rooted in the artistic philosophy the couple shared - were exhibited as innovative tapestries in Milan and at the Berkeley Art Museum, University of California.
Under Rosita's leadership, the Missoni brand grew beyond fashion to influence the world of interior design with the launch of Missoni Home. Rosita's eye for color and texture transformed living spaces into canvases of self-expression, much like their garments did for individuals.
At the same time, the cinematic world embraced Missoni's creations. Directors and costume designers often visited Sumirago to select unique pieces for their films. Burt Lancaster wore Missoni cardigans in Luchino Visconti's Gruppo di famiglia in un interno, while Mariangela Melato donned patchwork jumpers in Mario Monicelli's Caro Michele. Charlotte Rampling wore a Missoni design for her wedding, while Rudolf Nureyev’s long, colorful Missoni knitted coat became an iconic element in exhibitions dedicated to his costumes.
In 1983 the Missonis created costumes for Donizetti's Lucia di Lammermoor, set in Scotland: the couple oversaw the production of costumes for the entire choir in Sumirago, personally attending rehearsals in Milan to ensure every detail was perfect.
This venture marked the beginning of a series of notable collaborations in the arts, from dressing Claudio Abbado’ and Gino Negri's youth orchestras to creating the golden fleece for the 1990 ballet Medea, with Franca Squarciapino contributing costume designs. One of their most vibrant contributions came during the opening ceremony of the 1990 World Soccer Championships, where Rosita and her team designed colorful costumes representing Africa, a moment vividly captured in drawings by journalist and friend Maria Pezzi.
In the '90s the brand crafted costumes for "Step Into My Dream" for The Parsons Dance Company and designed knit, space-dyed stretch suits for the acrobatic feats of the Aeros company.
In the same decade the Missonis transitioned leadership to their children - Luca, Vittorio, and Angela - but Rosita remained deeply involved in guiding the brand's legacy and in preserving the craftsmanship that defined Missoni. She championed the enduring quality of garments initially produced on Coperdoni looms in Sumirago, balancing tradition with innovation.
She won prestigious honors such as Elle Decoration UK's "Best Fabric Award" in 2003, the Elle Decor International Design Award in 2005, and was named Créateur 2007 for Maison et Objet. The 2009 exhibition "Workshop Missoni: Daring to Be Different" at London's Estorick Collection of Modern Italian Art further highlighted the company's approach to design and its remarkable influence on the intersection of fashion and art.
The company's interests extended beyond fashion into ventures like Missoni Hotels - a partnership with Rezidor SAS (terminated after a few years), and collaborations with companies like Havaianas, Converse, and Target.
The Missonis frequently featured in advertising campaigns, such as the 2011 shoot by Juergen Teller at James Brett's Museum of Everything. These campaigns celebrated the familial warmth and unity that defined the brand's ethos, but, quite often the campaigns were more focused on their passion for art: they enlisted experimental filmmaker Kenneth Anger to direct the campaign for their Autumn/Winter 2010 collection, while for the Autumn/Winter 2014 collection, the brand focused on a Fortunato Depero-inspired visionary shoot brought to life by photographer Viviane Sassen.
The Missoni family suffered profound losses in 2013: in January, Vittorio Missoni died in a plane crash off the Venezuelan coast. Just a few months later, in May, Ottavio passed away at 92. These events marked a challenging chapter, yet Rosita continued to embody resilience and dedication.
In 2018, the company took a step toward modernization with FSI Mid-Market Growth Equity Fund acquiring a 41.2 percent stake, while the Missoni family retained 58.8 percent and full creative control. Rosita, holding the title of honorary president, remained actively involved, particularly with the Missoni Home collection.
Rosita Missoni was a constant presence at the Venice Art and Architecture Biennale events, reflecting her deep connection to art and culture (the family owned a house boat, named Timoteo, and Rosita loved travelling on it in the Venetian lagoon).
In a 2009 interview, Angela's daughter, Margherita reflected, "My grandparents and my mother Angela taught me everything I know about this industry, but they also taught me to distance myself from the fashion universe. A great passion for our job runs in the family, but we also know it’s not the most important thing in the world. We live our lives with lots of irony and detachment because, after all, it’s just clothes."
Rosita Missoni is survived by her children, Luca and Angela, as well as her nine grandchildren and their families.
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