Of course, I agree. Being Italian… I think it means that you
are used to be surrounded by history, beautiful art,
perfection in manufacturing, and when you grow up with
all of this, and your family grows up with it too, you kind of
have this in your DNA, in your blood. It is something more
than pride because you shouldnʼt be proud of something
that feels ”normal.” I am happy to be a Sicilian, more than
Italian. About being competitive, I can not say. Italian
politics are killing the economy, all the companies are
wounded by the political system, the politicians do not
care about Italian companies, they concentrate only in
asking taxes for their comfort, and asking money for the
import companies. Luckily foreign countries understand
the importance and high value of ”Made in Italy.”
The Italian design aesthetic is very clean, very tailored and
often graphic and intellectually driven, and Sergio
Daricelloʼs style is no exception. The silhouettes he
creates are innovative, the cuts are meticulous, details
eye-catching yet not over the top. His designs are a
combination of cultivated shapes and delicate femininity,
often combined with delicate prints and material choices.
Some of his prints are rich, even flamboyant, with a spirit
of heritage and history, while occasionally reminding you
of the unforgettable richness of Gianni Versaceʼs work.
Regardless, Sergio Daricello has his own way of doing
things, of combining materials and creating silhouettes.
Itʼs no wonder the designs carrying his name have already
walked the red carpet and appeared in Japanese Vogue,
among many other magazines.
How would you describe your design aesthetic? And how
would you describe the woman you are designing for?
I would definitely say that my aesthetic is the synthesis of
the aesthetic of the place where I come from: Palermo,
with its rich baroque architecture mixed with the clean
lines of the Arab-Normandy architecture. That is why I mix
baroque lines with minimal shapes. In the prints I give you
a window to my world. I do the prints all by myself, using
graphics and my own photography. There are days when I
say: ”Ok, Sergio, letʼs go out in the historical downtown
and find something!”
Sergio Daricello began his career by working for Bruno
Bordese accessories, being the assistant designer for both
menʼs and womenʼs products at Clone. From there, he got
a position as assistant designer for Anna Gemma Lascari,
former assistant to Gianfranco Ferré. In Lascariʼs studio,
Sergio got to explore the world of couture and interact
with international clientele.
He made his debut as a designer when he was hired to
work at Etro. As an assistent designer to Kean Etro he
worked for Etroʼs menswear collections. But perhaps the
most important experience