Latest news with #Tirelli
New Straits Times
29-06-2025
- Business
- New Straits Times
WTO key to resolving global trade tensions, says economist
ROME: The global tariff tensions initiated by the United States should be addressed through the multilateral platform of the World Trade Organisation (WTO), an Italian economics expert has said. Mario Tirelli, a professor of economics at the University of Roma Tre, told Xinhua on Friday that the current US-led trade disputes have broadened to affect nearly the entire world, including the European Union (EU), and are causing heightened uncertainty, something he described as "bad for the EU." "The most important sectors of international trade between the EU and the US are machinery and transportation equipment, which accounted for nearly 40 per cent of all EU exports to the US in 2024," Tirelli noted. These sectors, he added, are among the most severely affected by the newly imposed tariffs. He criticised the Trump administration's approach to trade relations, describing it as fundamentally opposed to multilateralism. "We have to try to move this type of negotiation back to multilateral platforms," he said, adding that the WTO remains the ideal venue where countries' concerns can be addressed openly and fairly. As the US has shown declining interest in supporting multilateral institutions such as the WTO, Tirelli called on the EU, China, and other like-minded countries to work together to uphold the multilateral framework. He said this collective support could serve as leverage to encourage the US to return to multilateral negotiations. As a professor of game theory, Tirelli acknowledged that reaching a trade agreement between the EU and the US would be difficult but emphasised that the EU is not necessarily in a weak position, provided its member states maintain unity. "European countries have to understand that negotiation power will be really weak if they are divided," he said. Tirelli also highlighted the importance of maintaining cooperation between China and the EU, noting that the 50th anniversary of EU-China diplomatic ties presents an opportunity to deepen bilateral trade and investment. "Through trade with China, the EU can achieve highly competitive gains in sectors like green energy, including electric batteries and cars," he said.
The Sun
29-06-2025
- Business
- The Sun
WTO crucial for resolving global trade tensions, says Italian economist
ROME: The escalating global tariff tensions, spearheaded by the United States, must be resolved through the World Trade Organisation (WTO) to ensure fairness and stability, according to Italian economist Mario Tirelli. Speaking to Xinhua, Tirelli, a professor of economics at the University of Roma Tre, warned that the US-initiated trade disputes now impact nearly all major economies, including the European Union (EU), creating significant market uncertainty. 'This is bad for the EU,' he said, highlighting machinery and transportation equipment as the hardest-hit sectors, accounting for nearly 40 per cent of EU exports to the US in 2024. Tirelli criticised the Trump administration's unilateral trade policies, calling them a rejection of multilateralism. 'We must return negotiations to multilateral platforms like the WTO, where concerns can be addressed openly,' he stressed. With the US disengaging from global trade bodies, he urged the EU, China, and other nations to collaborate in upholding the multilateral system, potentially pressuring Washington to rejoin constructive talks. Despite challenges, Tirelli, a game theory expert, argued that the EU retains bargaining power if member states remain united. 'European countries must understand that division weakens their negotiation strength,' he said. He also emphasised the strategic value of EU-China cooperation, particularly as the two mark 50 years of diplomatic relations. Trade with China, he noted, offers the EU competitive advantages in green energy sectors like electric vehicles, while China could benefit from EU expertise in aerospace and fintech.
United News of India
29-06-2025
- Business
- United News of India
WTO key to resolving global trade tensions: Italian economist
Rome, June 29 (UNI) The global tariff tensions initiated by the United States (U.S.) should be addressed through the multilateral platform of the World Trade Organization (WTO), an Italian economics expert has said. Mario Tirelli, a professor of economics at the University of Roma Tre, said on Friday that the current U.S.-led trade disputes have broadened to affect nearly the entire world, including the European Union (EU), and are causing heightened uncertainty, something he described as "bad for the EU." "The most important sectors of international trade between the EU and the U.S. are machinery and transportation equipment, which accounted for nearly 40 percent of all EU exports to the U.S. in 2024," Tirelli noted. These sectors, he added, are among the most severely affected by the newly imposed tariffs. He criticized the Trump administration's approach to trade relations, describing it as fundamentally opposed to multilateralism. "We have to try to move this type of negotiation back to multilateral platforms," he said, adding that the WTO remains the ideal venue where countries' concerns can be addressed openly and fairly. As the U.S. has shown declining interest in supporting multilateral institutions such as the WTO, Tirelli called on the EU, China, and other like-minded countries to work together to uphold the multilateral framework. He said this collective support could serve as leverage to encourage the U.S. to return to multilateral negotiations. As a professor of game theory, Tirelli acknowledged that reaching a trade agreement between the EU and the U.S. would be difficult, but emphasized that the EU is not necessarily in a weak position, provided its member states maintain unity. "European countries have to understand that negotiation power will be really weak if they are divided," he said. Tirelli also highlighted the importance of maintaining cooperation between China and the EU, noting that the 50th anniversary of EU-China diplomatic ties presents an opportunity to deepen bilateral trade and investment. "Through trade with China, the EU can achieve highly competitive gains in sectors like green energy, including electric batteries and cars," he said. According to Tirelli, China could likewise benefit from the EU's expertise in areas such as aerospace, machinery, and financial technology, sectors he views as critical to China's continued development. UNI/XINHUA BM
The Star
30-05-2025
- Entertainment
- The Star
Ethereal, dreamy, poetic: Looking back at Maria Grazia Chiuri's final Dior show
The fog drifted in over the manicured lawns of the Villa Albani Torlonia in Rome just as the Dior Cruise 2026 show began, lending what was already a somewhat surreal moment an extra-otherworldly air. All the female guests wore white, even Natalie Portman and Rosamund Pike; the men, black. As they entered the verdant inner courtyard of the private manse, with its collection of Greco-Roman antiquities, they walked past dancers posed like moving statuary. When the first models appeared, to the strains of a live orchestra, light rain began to fall. Along with the mist, it made the clothes, almost all ivory and often so light as to be practically transparent, seem ghostly (even for someone watching through the computer screen): an ethereal stew of references in lace, silk and velvet – with the occasional tailcoat – to different periods in history and imagination. In a video call before the show, the designer, Maria Grazia Chiuri, said she had been after what she called 'beautiful confusion', the phrase (co-screenwriter) Ennio Flaiano originally suggested as a title for (director Federico) Fellini's 8 1/2 . It was an apt description, not just of the collection itself, which seemed made for phantoms slipping from one era into the next, but also of the question mark surrounding her own situation. Read more: What led to Jonathan Anderson's sudden appointment as head of Dior menswear? Chiuri had nominally brought Dior back to her home city to celebrate the romantic spirits that formed her (and helped shape fashion), from La Cinecitta to director Pier Paolo Pasolini and Mimi Pecci-Blunt, an early 20th-century patroness of the arts who built a private theatre Chuiri recently restored. But she also brought herself and her audience full circle, back to the place she began. To do so, she enlisted a host of collaborators: the Tirelli costume house, director Matteo Garrone (who made a short film in honour of the collection), artist Pietro Ruffo, Dutch choreographers Imre and Marne Van Opstal. If that sounds like a lot to cram into what was essentially a 20-minute fashion experience, it was on purpose. It is widely accepted in fashion that this was Chiuri's last show for Dior. That in a matter of days the house will announce she is leaving after nine years and will be replaced by Jonathan Anderson, who recently joined Dior as artistic director of menswear. Note: This story was written before the announcement of her exit. LVMH, which owns the house, has not addressed the rumours, and when asked directly, Chiuri simply said, 'Oh, I don't answer this question.' It's too bad. The lack of clarity about her future, combined with the actual fog, gave an ambiguous edge to what could have been a triumphant farewell. Instead it seemed like a vaguely elegiac swan song. Maria Grazia Chiuri, creative director of Dior waves at the end of the Dior Cruise 2026 womenswear show at Villa Albani Torlonia, in Rome. Photo: AFP Maybe they are hedging for legal reasons. Maybe Chiuri, who has the thick skin and stubbornness of many pioneers, didn't want it to be nostalgic or sentimental. But while the collection was lovely and she got a standing ovation, it could have been so much more. It could have been an exclamation point at the end of what will surely be seen as a meaningful era in the life span of a major brand. A celebration of the contribution of the first woman to run the house. Such a farewell is not unheard-of in fashion, even if designers now turn over so often and so brusquely that it seems rarer than not. Tom Ford ended his Gucci period with a shower of pink rose petals, a standing ovation and Nothing Compares 2 U . Dries Van Noten went out on a silver foil runway with a giant disco ball to commemorate the moment. There's nothing wrong with designers being recognised for what they brought to a brand, even if, as in this case, the decision to part ways doesn't seem to be entirely mutual. Especially a designer like Chiuri, who both helped grow Dior to what is estimated to be close to US$9bil (approximately RM38.2bil) in revenue and expanded its identity more than anyone may have realised. She is quoted in the documentary Her Dior – a study of Chiuri's work with female artists directed by Loïc Prigent and released in March (an early sign, perhaps, of legacy building) – saying she knew what she was doing. She did. She used her power and position, the financial might of her company, not just to assert a somewhat hackneyed feminism (who could forget the slogan tees or the weird playsuits under princess dresses?), but also to support a variety of female artists as well as a panoply of artisans. To insist on the radical idea that craft belonged on the same level as couture. And, perhaps most significantly of all, to break the stranglehold of the "new look". Indeed, in Her Dior , Chiuri said she told the Dior executives when she was hired that the brand's most signature silhouette, with its cinching and constriction of the female figure, was not for her. Read more: A look back at Jonathan Anderson's star-studded legacy of dressing celebrities To look back at her collections is to see her methodically dismantling it. She did so first by going through the motions of loosening the stays – figuring out how to preserve the shape without the restrictive underpinnings – and then by eschewing it entirely. Her strength as a designer wasn't in the giant productions that surrounded her collections but in the internal magic she worked with construction and material. It's why her work often seemed more enticing in previews, experienced up close, than on the runway, where it could look banal. It is worth noting that there was not a single bar jacket in the whole cruise show. Or a high heel. Instead it was strewed with Easter eggs that suggested a finale: references to Chiuri-isms past (to the short film she and Garrone made during Covid-19 and to the dancers she had included in other shows); to a possible future (her work with the Roman theatre); to the goodbye of her colleague, former Dior menswear designer Kim Jones, who resigned after his January show (as in that show, some of Chiuri's models were wearing blindfolds). Even the inclusion of 31 couture looks among the ready-to-wear seemed a last word of sorts. Couture is the next season on the womenswear schedule, and it would have been Chiuri's next collection, if there actually were one. For now there was just the Cruise 2026 show's closing look: an extraordinary gown micro-beaded to resemble a trompe l'oeil heroic torso. Or a relic, perhaps, of a time gone by. – ©2025 The New York Times Company This article originally appeared in The New York Times.
New York Times
29-05-2025
- Business
- New York Times
Dior's First Female Designer Says Farewell
The tenure of Dior's first female designer, Maria Grazia Chiuri, formally came to an end on Thursday with an announcement that she was leaving the brand after nine years. It had been rumored for months, so it surprised no one. Really it had ended two days before in Rome, with a cruise show. One that encapsulated all she had brought to the house. Even if she didn't admit it, she clearly had designed it that way. It's one way to have the last word. Indeed, the fog that drifted in over the manicured lawns of the Villa Albani Torlonia in Rome just as the show began lent what was already a surreal moment an extra-otherworldly air. Ms. Chiuri had requested that all of the female guests wear white, even Natalie Portman and Rosamund Pike; the men, black. As they entered the verdant inner courtyard of the private manse, with its collection of Greco-Roman antiquities, they walked past dancers posed like moving statuary. When the first models appeared, to the strains of a live orchestra, light rain began to fall. Along with the mist, it made the clothes, almost all ivory and often so light as to be practically transparent, seem ghostly (even for someone like me, watching through the computer screen): an ethereal stew of references in lace, silk and velvet — with the occasional tailcoat — to different periods in history and imagination. In a video call before the show, Ms. Chiuri said she had been after what she called 'beautiful confusion,' the phrase the screenwriter Ennio Flaiano originally suggested as a title for Fellini's '8½.' It was an apt description, not just of the collection itself, which seemed made for phantoms slipping from one era into the next, but also of what was then a question mark surrounding her own position. Ms. Chiuri had nominally brought Dior back to her home city to celebrate the romantic spirits that formed her (and helped shape fashion), from La Cinecittà to the director Pier Paolo Pasolini and Mimì Pecci-Blunt, an early 20th-century patroness of the arts who had built a private theater Ms. Chuiri recently restored. But she also brought herself and her audience full circle, back to the place she began. To do so, she enlisted a host of collaborators: the Tirelli costume house, the director Matteo Garrone (who made a short film in honor of the collection), the artist Pietro Ruffo, the Dutch choreographers Imre and Marne van Opstal. If that sounds like a lot to cram into what was essentially a 20-minute fashion experience, it was on purpose. At that point, no one was admitting that she was about to leave — not even her. When asked directly, Ms. Chiuri had simply said, 'Oh, I don't answer this question.' Now everyone knows the answer. Still, it's too bad no one had been willing to acknowledge it sooner. Because the lack of clarity about Ms Chiuri's future, combined with the actual fog, merely gave an ambiguous edge to what could have been a triumphant farewell. Turned it into a vaguely elegiac swan song. Maybe Ms. Chiuri, who has the thick skin and stubbornness of many pioneers, didn't want it to be nostalgic or sentimental. But while the collection was lovely and she got a standing ovation, it could have been so much more. It could have been an exclamation point at the end of what will surely be seen as a meaningful era in the life span of a major brand. A celebration of the contribution of the first woman to run the house. Such a farewell is not unheard-of in fashion, even if designers now turn over so often and so brusquely that it seems rarer than not. Tom Ford ended his Gucci period with a shower of pink rose petals, a standing ovation and 'Nothing Compares 2 U.' Dries Van Noten went out on a silver foil runway with a giant disco ball to commemorate the moment. There's nothing wrong with designers being recognized for what they brought to a brand, even if, as in this case, the decision to part ways doesn't seem to have been entirely mutual. (In the announcement of her departure, the decision was cast as Ms, Chiuri's.) Especially a designer like Ms. Chiuri, who both helped grow Dior to what is estimated to be close to $9 billion in revenue and expanded its identity more than anyone may have realized. She is quoted in the documentary 'Her Dior' — a study of Ms. Chiuri's work with female artists directed by Loïc Prigent and released in March (an early sign, perhaps, of legacy building) — saying she knew what she was doing. She did. As Delphine Arnault, the chief executive of Dior, said in the news release about Ms. Chiuri's departure, 'She has written a key chapter in the history of Christian Dior.' She used her power and position, the financial might of her company, not just to assert a somewhat hackneyed feminism (who could forget the slogan tees or the weird playsuits under princess dresses?), but also to support a variety of female artists as well as a panoply of artisans. To insist on the radical idea that craft belonged on the same level as couture. And, perhaps most significantly of all, to break the stranglehold of the New Look. In 'Her Dior,' Ms. Chiuri said she told the Dior executives when she was hired that the brand's most signature silhouette, with its cinching and constriction of the female figure, was not for her. To look back at her collections is to see her methodically dismantling it. She did so first by going through the motions of loosening the stays — figuring out how to preserve the shape without the restrictive underpinnings — and then by eschewing it entirely. Her strength as a designer wasn't in the giant productions that surrounded her collections but in the internal magic she worked with construction and material. It's why her work often seemed more enticing in previews, experienced up close, than on the runway, where it could look banal. It is worth noting that there was not a single bar jacket in the whole cruise show. Or a high heel. As an alternative, it was strewed with Easter eggs that suggested a finale: references to Chiuri-isms past (to the short film she and Mr. Garrone made during Covid and to the dancers she had included in other shows); to a possible future (her work with the Roman theater); to the last show of her colleague, the former Dior men's wear designer Kim Jones, who resigned in January. (As in that show, some of Ms. Chiuri's models were wearing blindfolds.) Even the inclusion of 31 couture looks among the ready-to-wear seemed a goodbye of sorts. Couture is the next season on the women's wear schedule, and it would have been Ms. Chiuri's next collection, if there actually were one. Instead there was just the cruise show's closing look: an extraordinary gown micro-beaded to resemble a trompe l'oeil heroic torso. Or a relic, perhaps, of what is now officially a time gone by.
