It’s a great honour for me to be here at the Empire club of Canada today, which is arguably the most famous and historically relevant speakers podium to have ever existed in Canada. It has offered its podium to such international luminaries as Winston, Churchill, Ronald Reagan, Audrey, Hepburn, the Dalai Lama Indira Gandhi and closer to home, from Pierre Trudeau to Justin Trudeau, literally generations of our great nation’s leaders alongside with those of the world’s top international diplomats, Heads of State and business and thought leaders.
01:02
It is a real honor and a distinct privilege to be invited to speak to the Empire club of Canada, which has been welcoming international diplomats, leaders in business and in science and in politics. When they stand at that podium, they speak not only to the entire country, but they can speak to the entire world. Good
Sal Rabbani 01:27
evening. Welcome to the 120th season of the Empire club of Canada. To everyone joining us today. Thank you for your participation and support. You are the driving force behind our mandate to engage debate educate and advance the dialog of issues of importance to Canadians. My name is Sal rabannie, and I’m the President of the Board of Directors of the Empire club of Canada. And to formally begin this evening, I want to acknowledge that we’re gathering today on the traditional and treaty lands of the Mississaugas of the credit and the homelands of the Anishinaabeg the Haudenosaunee and the one that peoples. We encourage everyone to learn more about the traditional territory on which you work and live. Turning to today’s program, I want to recognize the Empire clubs, distinguished past presidents, board of directors, staff and volunteers, and also to the staff of the ICFF, thank you for your contributions to making this event a success. I’d be remiss if I didn’t take pause to acknowledge this association, a special thank you and acknowledgement of someone that we’ll call as a cultural states person, a humanitarian and an ICFF champion. Dr Fauci over lazy. Thank you, Fauci for bringing us together. The Empire club of Canada is a not for profit organization, and we’d like to recognize our sponsors who generously support the club, who make these events possible and complimentary for our online viewers to attend. Thank you to ICFF, major sponsors, Lavazza, CIBC, thank you to our season sponsor, Hydro One. I also want to thank you to you know why who sponsored our VIP reception. Thank you very much. You we have a very special guest tonight. I have to admit that this is one of those rare occasions that got me a bit nervous about what I was going to wear, and can take inspiration from all of you today look just outstanding. Tonight, we will hear about the life and achievements of a creative voice, a force, a trailblazer, woman, entrepreneur and creator at first sight. One might think that creativity and business are two different concepts. I would argue that we absolutely need a creative mindset in business. Most of the legendary brands have creativity in common, being creative is crucial for developing new products, new services and new strategies that differentiate a company from its competitors. Our guest tonight is a woman who has played a pivotal role into transforming the Fendi brand into a global powerhouse, a fashion icon and a pioneer of fashion and cinema, where she collaborated with some of Italy’s most renowned filmmakers. But tonight isn’t only about Italian excellence in fashion, art and culture, it was also about how the woman entrepreneur Anna Fendi succeeded in the very tough world of fashion. Women make up almost half the entire workforce in Canada, but only 28% of business owners in Canada are women. At the same time, women owned businesses contribute 117 billion in economic activity to our economy. Just think how important that is for Canada and. And what an enormous force women entrepreneurs are. We hope that our guest story will serve as an inspiration for business owners everywhere and shine light on ways to better champion Canadian Women’s entrepreneurial success. Tonight, it’s also about family businesses, and I know there’s many family business folks in the room here tonight, about how Anna Fendi and her four sisters complimented each other to propel the iconic Fendi brand to global fashion prominence, about how they worked like fingers in the same hand as they so beautifully described themselves. Tonight is also about passing the torch to the next generation, about building the legacy and the future, I want to thank you all for joining us as we embark on this journey of creativity, beauty, entrepreneurial and creative genius, and if any, will be joined on stage by Ginny Becker, iconic fashion and lifestyle Canadian journalist that we not only know for her groundbreaking work on TV, radio, magazines and newspapers, but also for her strength, tenacity, optimism and for being such an inspiration to all of us, a quick reminder that this is an interactive event, and so I encourage you all to put forth any questions you might have during the Q and A and that there’s a Q and A code on your program book Clinton, so feel free to shoot them across on your mobile devices and now like this, to take this opportunity to invite Jeannie Becker to the stage. Jeannie, you,
06:54
oh, I’m overcome with emotion. I’m absolutely thrilled to be here with you. I am absolutely thrilled to be interviewing the iconic and the legendary Anna Fendi, and I know because all of you probably grew up watching me, right? You know how important fashion has been in my life over the years, and I’ve been to untold Fendi shows like so so very many and I never had really had a chance to converse with with Anna before her late great sister, Carla was the one dealing with the press most of the time. But of course, I’ve just followed the amazing journey of this sensational family and brand and the way that they have continued to keep themselves so relevant, the epitome of elegance and and modern lifestyle and quality and luxury and and all that good stuff that we love so much. So for me, this is an absolute fantasy, and I’m so glad to be here with all of you to share it. We’re going to talk about all kinds of good stuff, and I think we have a little film clip prepared to fill you in just a bit on the history of the incredible house of Fendi and Anna Fendi. So shall we start with that before we bring our guest of honor on stage.
08:17
Born in Rome, Anna Fendi became passionate about fashion while spending time in her parents boutique specialized in leather accessories such as sleeves, scarves and gloves with fur trimmed cuffs. It was a small establishment in the city center, founded in 1925 by Adele and Eduardo Fendi. Over the years, they expanded the business by opening other outlets in the city, Anna and her four sisters followed their creative vocation and revolutionized the accessory sector with new materials and manufacturing concepts. In 1965 a historic collaboration began with a young German designer, Karl Lagerfeld, who then became the artistic director he contributed to the Fendi collections for over 50 years until his passing, and designed the iconic logo with the double f in 1970 the collection is presented for the first time at Pt in Florence, creating massive interest and leading to the opening of a dedicated boutique Within Bergdorf and Goodman historic store on Fifth Avenue. Since then, international success increased exponentially. New lines and avant garde designs, innovative techniques and colors made bendy famous worldwide. Along with their handbags, they pioneered fabric processes making everything soft and reversible after the acquisition by LVMH in 2001 Anna handed over the artistic direction to her daughter, Sylvia, who was part of the design office since 1997 Sylvia became the creator of the iconic baguette bag, followed by other best sellers like the peekaboo, Anna began new entrepreneurial ventures which. Led her to restore the historic residence, Vila Letizia, named by Forbes as one of the most romantic hotels in Rome. She also launched a selection of lines and tableware, pieces of astounding elegance using precious materials like Murano glass, hard working and determined with a scrupulous attention to esthetic detail, she has dedicated her life to creativity, to the beauty of Rome and to her family heritage through research and experimentation, Anna Fendi and her sisters subverted old rules and took the brand beyond the comfort zone, creating true pieces of art that made Fendi an Italian fashion famous across the globe.
10:45
Wow. And if you think you know she’s inspiring on the screen, just wait till you meet her in person. She’s absolutely gorgeous, and she is just gonna blow you all away. She’s a great inspiration. Please welcome without any further ado the Great Anna Fendi, applause,
11:26
so lovely.
11:42
You. So beautiful. Thank you so much. Wow. Just wait till the end of the conversation, he’ll be flying Okay, and we are joined by Anna’s fabulous translator for the evening.
11:55
Wait and see before you say,
11:59
Well, I’ve got to trust you now. We all have to trust you. And this is the first time that you’ve worked together as well. I understand you haven’t translated for an effect.
12:09
Oh yes, not my first time. Yeah. Oh, okay.
12:13
All right, have a seat. Great. Well, what an incredible history you have in this crazy world of fashion, and the fact that you’re not only surviving but really thriving still is an incredible inspiration to us all. The fashion world has gone through so many changes over the past decades, and you’ve really sort of ridden those waves with incredible aplomb and with great style. You were born into this business. It’s almost like maybe you didn’t have a choice. What was it like in those early days? Anna, what was it like growing up in a family that was all devoted to The same cause, to the same business of fashion,
13:11
a complicate di Fili, ci sono on that in diverse, still diverse Malli and nata e questo business, e quindi, come questo, questa, questo rapporto, qual mondo della Moda e un po la presento, un po Tuta, la sua vita. CI po dire qualche cosa dei preg mi gione de pregnani del sua
13:49
protocol la moda. E quindi o FIA Integra contarve que el mundo de la moda Mi A sempre a facinato sono nata con cuatro sobrele tote e cinque se mostate sempre dotate di grande creativa, quindi, Mondo de la moda, come Que lo del cinema C as sempre a facinato Quindi, questo mondo, me stupido, Mishi. Sono trovata. Das monto. Monto, Ben,
14:37
I have to start with a sort of a tale. You know, we I always found the world of fashion extremely fascinating. We were force. I have four sisters, so all the five of us were very, very creative people since at the very beginning of our lives. So we felt the fascination of cinema. We felt the fascination of the. A world of fashion. So in other words, I was never surprised or that I always felt myself very much at ease in this world.
15:12
Was there ever any question that you would really carry the torch that your parents passed, that you would continue in the business. Was there ever any time that you doubted that maybe this isn’t the path I should take? That simple?
15:40
COVID a parte que Hiro questa, torcha no lo portata da sola ma con cuatro sobre Elle, per que nostra madre soste Neva que no ya ravamo como una mano con cinco Edita e una diversa dal altra ma complementa.
16:07
Actually, this torch was I wasn’t the only one to carry the torch, because we were all together, me and my sisters, our mother would say that we were like a hand with the five fingers different, but at the same time. I mean, having creating one thing, and that was the idea we were brought up
16:35
with. It’s incredible, though, because you hear so many stories of families in the same business, but they’re killing each other, you know? I mean, the passions run very deep in families sometimes. And you know, what do you attribute the success of your relationship with your four sisters too? How come it worked so well? How come you never had big fights and left each other.
17:22
No, inseguito un onico obviativo, quello di rioshire, altenere te resultati Ino. Ci siamo assolutamente preoccupati di questo mondo. Menoceama, Corte di questo mondo che ci circondava. No, he abbiamo guarda avanti, e abbiamo pensato exclusivamente com molta profesionalita creativa, bon senso grande in Pena a porta puesto, no me de la familia quiera runico, no me protagonist.
18:20
Well, you know, our only goal was the one of obtaining results, and so we were never preoccupied, or rather, we really didn’t care, or didn’t notice what was happening in the world of fashion around us. We were the world that was surrounding us, so we were simply looking ahead of us with professionality, with the creativity, with the necessary commitment. And eventually the name of our family was the one that counted the most, and it was the protagonist of our life, not our own names as single
19:04
people. Amazing that you could all still remain so humble in a business that really so many people get swept away with, you know, I mean, it’s a very heady kind of business. There’s a lot of ego in the world of fashion, a lot of ego that drives it, and the fact that in itself, is just so inspiring to me. You obviously were big doers because you worked so hard, but you obviously were also big dreamers because you had a vision for what this company could be on a global scale dominated
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questo destinomente,
19:50
una cosa que de.
20:00
A mimotic familia que a fatto tante COVID delle persone que fartado Avante, una dizione e
20:19
questa vizione Yo su pongo que senza il sonjo non si potener de dio Beattie, il sono ti auta a porta Avanti de discorsi con Crete a traverso il Sonia poi, la cretivita, vol dire, soniare bisona, anche Averi pied di pertera e in faci non abbiamo solo soniato. Abbiamo pensato a Reggio under obiettivi inseguento la pelizza, ma anche pensando alla protrutivita per che questa e una tici plinna che anno insegnato Findo bambina in
21:24
well, without what we call dream, you cannot achieve anything in life. Dreams help also to be factual concrete to go straight to obtaining results. And it is through the dreams which are, of course, associated with creativity, you proceed, but also while keeping your feet on the ground very steadily. So of course, not only dream, but also beauty and productivity as well. Well. In other words, it is an exercise of discipline, something that my parents have been teaching all of us throughout their life.
22:15
Another big dreamer that you joined forces with 1965 was the late great Karl Lagerfeld, a true genius. No question. Tell me about that relationship and why you clicked so wonderfully with him from The very beginning. Anything
22:37
to tell me
23:01
compreso que per a frontare il mondo internacional de la moda, pera parte, nere al gota della moda. Dove vamos a valerci de un directore creattivo Es Nui dove avamo colaporare Pun quello che finora C aveva iutato un certo talento Terra rivare, A delgli obitivi, diciamo, Pio aviciosi vole Vamo. Raggonge o quello che si chiama un
23:51
Brenda, Brenda di moda e que potissimo o laborare con ser cre con nostro talento per que no lo disco, no che Vamo. La ve Vamo dia test, stato y pero vole Vamo a rivare a delivery, super lativi, quindi, cuando abbiamo a voto, un grande privilegio, il nostro Pablo chere Conte Franco savorelli, ci presento questo giovane Stylista Te disco naturalizato in Francia. Aparigi capir movi inmediatamente o mediatamente di avere Davante a noi un genio, un genio de la moda, come in efetti divento neglig matrimonio lungo in. Nella moda, noi abbiamo laborati in Siemen. Noi abbiamo creatto un vero proprio in siema lui, laboratorio di De Dil cerca di novezione e attraverso questa comunione de siamo, abbiamo Reggio unto de bodire qui senza modem in Mondo.
25:46
I could go on forever, but Karla Lagerfeld too,
25:54
no, no. So we understood that in order to face to challenge the international world of fashion and to be part to belong to the golf of fashion, we needed a creative director, somebody to collaborate with, somebody who had was helping with his talent, but was also at the same time aiming at higher results. So the idea was to be more ambitious, to reach the full fledged status of brand and to work together with our talent that was already been tested in the previous years, but by bringing it to higher level, our PR Franco savored introduces us to this young stylist who was a German and naturalized French from Paris, we immediately understood to have in front of us a genius, as he demonstrated to be throughout the years. It has been a very long narrative, just so to speak, we have been working together as a laboratory of ideas, of research, of innovation, through a communion of ideas and dreams,
27:32
the cinema, the cinema, I mean, we, we’ve just been lapping up all The wonderful things here at the contemporary Italian film festival that’s been going on the last few weeks. When did you fall in love with the cinema? Because Fenty has done some incredible design work for myriad directors.
28:08
No visto un periodo del cinema in Italia stra ordinario. Sono stati Yanni todo del cinema. Italiano Rico no shooter, almono con epio grande registry, last story,
28:33
I think we have a clip as well that we’re going to play. Just, yeah, just, you can please translate that, but so after you can tell us what Anna just said, yeah, no, no, sorry, okay, yeah,
28:51
And then wants to add something.
29:00
Okay, the cinema.
29:07
I have lived in a period which was extraordinary for Italian cinema. It has been the golden age of Italian cinema. Italian films were famous all over the world, the greatest filmmakers were giving their imprint to the very history of cinema
29:29
estato molto naturale que la moda, La nostra moda inter chal rapporto
29:40
con el cinema, siamo statif Fauci dal fatto Chera Mamo nel tempo Diven entrecciato A ancora Porto a mi che vole con costumist. Questi registe, mi amo abuto, no Nore di conocere lu Quino vez Conte bolognese, fellin antonione, abbiamo avuto anche una grande Fortuna ti interes. Ti intercciare, una grande amici con Pierro Tosi, grande costum, Insta, premio Oscar del costumes.
30:42
Well, the relationship between fashion and cinema appeared extremely natural to us. It was just, you know, normal to mean, to create, to own a relationship with cinema, especially our way to see fashion. We were also favored by the fact that we had a friendship with relationship with costume designers and also with important Phil Baker, such as looking Federico, Fellini, Michelangelo, Antonio, we were lucky in that regard. And what also was very important was a personal friendship with Pierre otosi, a great costume designer who had obtained, probably, you know, that, an Academy Award for his work.
31:39
Okay, okay, let’s just see this little clip that we have prepared for you to give us a little more of a taste of what we’re talking about here With the wonderful Fenty relationship With the Italian cinema. You
33:20
Ah, so exquisite you’ve always had such a profound connection with art. Fendi and art like really a beautiful symbiotic relationship with art. Would you say that working with these cinematic directors and. Artists, in a sense, made you better designers for the real world, for dressing women in an everyday sense, because what you do for cinema is so theatrical, how did it help you become a better designer for the every woman
35:22
is? Via fatto diventare dei designer miliovi. Che cosa mi de empatovicino, ma via a iutato a vestire me.
35:46
Che larte del costumes sia diverzzo tal arte della moda comunque CIA fatto vivere la bellezza che fato vivere il sono, abbiamo Sen Salto, Imparato, molto daroro, pero no estato un motivo di crescita, e abbiamo o respirato qualcosa attraverso la bellezza Chia generati Noi solo bellizza e quindi, de un utilita Massi.
36:42
Ma, I believe that the art of costume design is different from the art of fashion. What actually collaborating with the filmmakers make us improve made us improve was to live together with them, the beauty and the dream of it. We have certainly got quite a lot of things from this experience, something that made us grow. We have sort of breathed in beauty, generating additional beauty. Therefore that encounter for us was, of course, of extreme usefulness. Okay,
37:31
and let’s see some more examples now of the brilliant work that Fendi has done in the cinema. We have another clip for you. Take it away. You. It
37:41
away.
37:52
La Mangano endosa, sia una Volpe molto pretensios, ancora di Pio fa parte del personando en nu una vamos dramatizata apojando la sui gene
38:03
se ricordo questo volume circolare che astrecto qua e Polce de Val la regim,
38:12
il famoso di Bellino in dosato da Silvana, quasi unicona, proprio per che un contrasto con la preciosita del interno che vole quadinas condersi e come diciamo una bella Donna monto mysteriosa, che volna scone de la suavera personalita aveva una cintura, Una citua naturalmente di Bellino and Damo improba sul sette alla presenta Visconti lui con molta tu tizza No to che la cintura non era della stessa consistenza de resto de ripel, e quindi, il lui dice che un potevan Dare Per Cheran a cintura per usare proprio le sue parole, che dove a esere protagonista, quindi non Ciri, mazze, altro che ri farla Noe aveva ma do Prato nella prima averzione delle Peli, meno no bilig, come di prasi, se usa fare invesce, rifaciendo la abbiamo Sato Peli di questo materiale percius Simo e o lo ricordo il giorno che ci Fula pro ezzione del film Alia, detti ei lavori era sidoto molta di Nita su questa, se gioli na rotelle e Ave VA lega MBE a volto la te da mu dibilino, regalo della produzione a noi come mesionato e fo delizioso per che si ri volsa NoI ring gratziando si del lavoros. Volto, se.
42:22
Oh, Come on. Home and
42:28
these kind friends have taken me in. I wanted to be quiet and think things over. I feel so safe here. I wish that you were with
42:37
us. No vanity. Came from Washington to you, we would have missed each other. You
43:20
I’m right here, right now,
43:22
yeah, let’s talk about you.
43:24
Come on, 49
43:26
years. 48 eight. Okay,
43:30
48 years. Come on. Tell me about it. Give
43:33
it. Sharon,
43:42
you fabulous.
43:47
I it’s just it’s so compelling to watch. I’m sure the adventure was very exhilarating for you to be able to make your work felt in that way on the big screen.
44:11
Imagine,
44:21
especially credo che sia stato un grande privilegio vistire Silvana mangalo, una dona extremamente elegante du una pelizza po unica, e quindi questo, ya stato un grande privilege Banco e tipio sono contenta de aver visto un esperienza que. Que ancora una cientura Po a esere molto importante, e a ver VISU over le poca vicino a Nomo come looking no Visconti e tutto proceso di questo film et costumi che abbiamo realizzato per la Mangano oto sempre vicino, come assistant de voto a Meco Piero Tusi o
45:43
it has been a privilege to be able to wear, to give some costume to Silvana Mangano. Silvana Mangalore was a woman incredibly elegant about extraordinary, unique beauty, and that was already privileged, but I would say that an additional privilege, probably higher, was because I was so happy, so glad to have had such an experience that belongs entirely to that particular Moment of Italian cinema. Well, the idea that the importance attributed to a belt was so stunning, so so clear, so and all of that with the help of and of a man like looking Visconti and who followed the entire process of this film, together with the incredible, incredible assistant named Piotr, there
46:48
is so much to talk about here we could, you know, go on forever. Unfortunately, our time is running out. We have so, so little time left with you on the stage here, your your design duties are taken over by your beautiful daughter, Sylvia and your niece Delfina. I’m sure that you have taught them so much about the business. What does the young generation teach you? How are you inspired by what you see going on from these these young, creative minds
47:23
put Topo il tempo un poquino Tia No, e quindi, non possiamo tantis cose, pero nel tempo che ci mane la domanda e les figil Silvia del finari al Maggie, non se los maggio, che cosa Ha in segna Toro de que cosa no insengnato Luo a lei. Che tipo di spirazione? Ne v se indiciamo che stata ne apotego, les
47:51
figlia, io, personalmente, O sempre a MATO, proceder en el mi ovoro, guardando avanti. O Davante loro, mi Anno, sempre trans Mesa, una grande moderne per que vedete no ino la moda, dobbiamo sempre vivere una no avanti. E destabilidad un po pero, molto bello y oto delle fille, molto molto creativa, molto in penata, e que mi Anno portato sempre Avante, e quindi una madre che mi ADA un esempio, e delle fille a le quali de bomb molto per que vicino, alloro. Alloro. Non loro mentality, alloro, modo dig, guardare Avante. Mi hanno trans meso, molto, molto, e quindi o cercato sempre di e sere pucha contemporana,
49:35
personally, I’ve always worked Thinking Ahead, looking at the future rather than the present. So my daughters have given me their sense of modernity. And in the fashion world, you must live one year ahead of your time. Sometimes it’s destabilizing. Is not. But that at the same time is also beautiful, is the very essence of work. I had creative daughters, always engaged, always committed, to look ahead, to look at the future. I had my mother as an example, and I have daughters to whom I really owe a lot, and being close to them means to learn from their mentality, their mindset, their way to look at the world. And yes, they have given me a lot. And because the most important thing for me is to be in the contemporaneity, you
50:51
have also created yet another brand with beautiful tablewares, with wines. It’s as though your passion knows no bounds. You may not be working actively on the Fendi brand anymore, but you have this whole other VISTA of opportunities. I want to know where you get your passion from. I know you’ve said that you eat healthy and you know you live, you take care of yourself, you physically, but there’s got to be something more in terms of what’s feeding your passion to just want to keep going, because it is such an inspiration to so many of us.
51:33
La Suel linear,
51:41
come si la su attribita, non aveste confini, ma Teno per questa Passione che la porta inventar, e sempre cose nuove, che cose che nultre questo Su, O questa sua pertura, questa sua creativa, que se le nove continuazione, yo,
51:59
creo que la creda tivita sia trans Mesa per genetic. Quindi, no ne merito Mio, il Perrito i Very protagonisti di questa mia modo di pensare divedere sono stati mie genitore che la No cultivata mio padre, la conflicto mi sempre apedere, Muse e poi a damare, la na tuvora, la musica Mi A madre, la cultivata Cola, buchazione, al senso del dovere. Ettas, meter me tanta tan the tanta tanta disciplin.
53:14
I believe that the creativity is transmitted in a genetic, genetic way. It goes via your DNA. So I don’t think it’s my I have to praise myself for that, the real protagonist of that attitude towards the world that you mentioned, of my way of looking at how to work. The protagonists are my parents. My parents not only taught me that, but also they cultivated that. My father in an intellectual way, because he would take me very often to museums. He taught me love for nature, love for music. And my mother taught me something else which is also very important, the sense of duty, the idea that life is also discipline, and that is where I take all my energies from them.
54:19
Well, you continue.
54:22
No So, dir una cosa, anche multi important, non a caso nel mille, nel mille Novecento no vanta, sette OCE, duto, il mio na mi aposizione, come responsable
54:52
del ofico Still e Fendi a mia fillglia Silvia, que ya lavoraba Come. Silvia oggi, el futuro difende Silvia a voto, la fortuna de afcare car lager, fell da Laura, final due Milan Tijan nove de la suas con comparts.
55:30
I want to add something
55:31
delay, el inventory, the LA pagan. I
55:45
Well, I have to add something very important. I have always thought very intensely to of the future of Fendi, and it is not a coincidence that in 1997 I passed on my position in the office, stylistic office of the company to my daughter, Sylvia. Sylvia today is the future of Fendi. She has been working together with Carl Lagerfeld until his death, and in 2019 and just to show how important is her creativity, she is. She invented the baguette.
56:30
She’s amazing. I think we had a message from her. I’m not sure that we have time to to play that though so but, but you have been such an inspiration to so many of us, and you continue to be thank you so much for making the world such a beautiful place, not just on the runways and not just, you know, up on the big screen, but just what you’ve given us in terms of your creativity and your inspiration. Thank you so much, and I wish you many more years of continued success and creativity, good health and inspiration. Thank you. On behalf of everybody here tonight an absolute pleasure.
57:11
Hello everybody and good evening. We are very proud of this prize, this award that celebrates almost 100 years of creativity in fashion, cinema, art. Very sorry not to be there with you and with my mother, Anna, and I send a big kiss. Well, yes, I’m also very sorry for not being able to be there with you all, and especially with norna to celebrate her on this award, Fendi and cinema have a very long love, love story and built over time and over passion. And this achievement makes us all extremely, extremely happy. Ciao ciao ciao, okay. Thank
58:01
you and Ciao. Ciao, everybody enjoy the rest of the evening. Thank you again. You’re fabulous. Thank you so much, and a great pleasure. Thank you so
58:20
much. ANNA Fendi, i
58:40
que yo continua, finche Potro, sempre Aso, yare atraverso questi. Sonia, mi questo momento, O colezionato, una o, ATO una Divini Italian per que mis sono data allo Teleri. Amo molto la amo molto la quitte ture del interne e do laborato una vita, anche a questo set tore e o creato come mio merito Pino, una linea Divini proprio per que el nostro albergo anche un restaurante stellato vorevo, dare una cuida si Cora giusta, ponderata Divine, italiane e
59:59
yo me. El poto, una giovane Dona di novantan,
1:00:13
o molte progetti e mimpo per que volo tentare di realizarle tutti.
1:00:29
I need a translator,
1:00:33
espero di tornare qui pera con trle a voy tutti e que a recuale de volta reconocenza. Questa covidza afetoza che mi avete demonstrato.
1:00:58
Thank you very much. I promise I will continue to dream. I’ll keep on dreaming. I have collected the wines, Italian wines, and I dedicated myself to hotelier. I’m so fond also of the interior design, architectural interior design for the hotels that also moved me to that sector with my husband, Pino. I created a line of wines because our hotel has also a restaurant, which is in starts in the Michelin Guide. And in order to have also the proper guide, the right guide for and for Italian wines. I think of myself as a young woman, 90 years of age. I have projects, and I want to tell you that I plan to live long enough to make those projects reality, and of course, I hope to come back here to Toronto and to tell you about my new projects. Thank you very much for your very, very warm welcome. You
Sal Rabbani 1:02:49
on behalf of everyone here, thank you, Anna, thank you, Jeannie, for today’s insightful conversation. Anna, you’re an inspiration. Your story moved us. You inspired us, and you taught us that work, creativity and passion can turn ideas into incredible things. For me, personally, there are two main takeaways from today’s conversation. The first is that there’s no boundaries to creativity, and the second one is that our economy and our society is stronger when there are more Women, entrepreneurs.
1:03:42
God. Creativity.
1:03:57
More women, entrepreneurs. Maggie, but we
1:04:12
need men as well.
Sal Rabbani 1:04:17
Innovative spirit, creative vision has helped shape the fashion industry, the world of cinema, leaving a mark on both. And there’s important lessons for all of us, regardless of industry. And I know there’s a lot of folks in industry here today, but especially for women entrepreneurs and those women in the room who aspired to become an entrepreneur. So I remain honored that you’re here today. And thank you very much. And before you do go, I would like to call upon Paul Galini, the chair of ICFF, to deliver the closing remarks for today. And thank you very
1:04:59
much. Of me, Wow, thank you, Sal. I don’t know how to close the evening or this part of the evening after an offending Sal thank you to you, and of course, to the prestigious Empire club of Canada for this collaboration and for everything you’ve done to make this evening and this event a reality. So thank you to all of you, and round of applause to the Empire club of Canada. Well, while tonight’s festivities have only just begun, this event marks the close of the 12th edition of the ICFF, nearly four weeks of movies, music, art exhibits, live performances, countless special guests. But I cannot imagine a more fitting way to celebrate the culmination of the 2023 ICFF Film Festival, then with this truly rare opportunity to get up close and personal with the iconic Ana Fendi and applause to Ana Fendi once more, please. So tonight, I speak on behalf of everyone here when I say that we are humbled. We’re so grateful for your presence and for your candidness. This evening, we congratulate you on all the many accomplishments thus far, and look forward to celebrating your exciting new venture in wine. We will surely raise a glass and toast to your many successes at the Ritz Carlton shortly in a few minutes. Grazian,
1:06:47
I also want to thank our brilliant host this evening. What can I say about Jeannie Becker, incredible. You have been a dear friend of the festival for many years. We thank you not only for being here tonight, but for taking us and all Canadians on a journey through the world of fashion. Over the last several decades, through your eyes, we have experienced and celebrated Italian and international fashion in a beautiful way. Thank you. G
1:07:17
the ICFF is a festival that relies on the support of many important sponsors, partners, and one of the most important being TIFF, of course, an organization that has brought the best of cinema to Canada and to the world. Tonight, I have the privilege of representing an incredible team at ICFF, as well as such, I would like to extend my sincere gratitude to all our volunteers and staff who have been working around the clock to make this festival a reality. I would like to thank the ICFF board of directors and a special thank you to Cristiano de florentis, the co founder and artistic director of the festival. Thank you, Cristiano. A shout out to Dr Fauci barlese And Claudia for assisting and bringing an offendy to Canada for the first time. So thank you very much. And we’d like to thank all of you for attending this evening, and we look forward to seeing you at the gala Gracia. Buna Sera, I
Sal Rabbani 1:08:20
think we’re near. Thank you very much, Paul. And thanks again to all our sponsors for their support and for everyone joining us today in person or online as a club of record. All Empire club of Canada events are available to watch and listen to online on demand on our website, so the recording of this event will be available shortly, I guess, in the coming days. And so I have the pleasure of saying, Thank you very much for joining us this evening. Enjoy the dinner. This meeting is now adjourned. Thank you.
