It is at the beginning of the XX century that Eugenio Marinella throws the bases of what would become one of the most fabulous Neapolitan "successful stories ".
In 1914, at the eve of the first world war, Eugenio decided, showing an undeniable amount of courage and initiative, to open a shop in Piazza Vittoria,
on the elegant Riviera di Chiaia in Naples, at that time, as today, one of the most beautiful waterfronts in Italy. The position proved to be strategic
for a little shop of only 20 square meters, in front of which the Neapolitan high society went walking. After having carried out the works of restructuring
and having acquired the two studios, a very large one for the manufacture of shirts, and a smaller one, for the ties, Don Eugenio set out on his first journey
to London, to meet his future suppliers...The shop soon becomes a small precious casket in which authentic treasures of refinement and taste can be found,
a small corner of England in Naples. In a time when the English style is a lot in fashion, Marinella is the only one to propose, in Naples, a vast range
of exclusive products coming from London, exacting the sole right from the English suppliers. At the beginning, the main activity of the shop is not the tie
but the shirt, queen of the men wardrobe. With the purpose to be at the top of the fashion and of the quality, Eugenio persuades some artisans shirtmakers,
of level without equal, to move from Paris, to teach his workers the art of the cut. With regard to the ties, they are exclusively realized in seven folds:
the square is folded up seven times inwards so that to give an incomparable consistence to the tie. It's only a long after that the modern tie with the inside
structure makes its appearance. The shop has passed through important historical events that have also changed the course of its history: the two world wars,
the decline of the ancient nobility and the appearance of the new middle class with the advent of the American products that bring substantial changes to the fashion.
Very careful to the evolutions of the society and of the custom, Eugenio doesn't lose heart and stops the production of shirts for the tie, that becomes the main product
of the house Marinella.
History > Tradition
The true resumption happens, anyway, in the eighties, when Francesco Cossiga, at the time President of the Republic and friend of the family,
becomes a real ambassador of the mark, taking habit to bring in gift to the heads of state, in their official visits, a box containing five Marinella ties.
So the trademark starts takeing the tour of the world. The G7 organized in Naples in 1994 definitely opens wide the doors of the very exclusive entourage
of suppliers of the greatest ones in the world, to the small Neapolitan firm: the organizers decide in fact to offer to all the present heads of state,
a box containing six Marinella ties, bringing an enormous publicity to the mark.
The passion for the elegance and the quality still today goes on, thanks to Maurizio Marinella, third generation of the family, that has picked up the inheritance
of the mark with an entrepreneurial spirit in agreement with the modern laws of the marketing, succeeding in making the mark E. Marinella be affirmed also abroad,
from the United States to Japan. The production signed E.Marinella has preserved the scrupulous attention to the quality of the raw materials and the cared manifacture,
still today rigorously handicraft , for these "veracious Neapolitan" and at the same time "very british" ties.
History > The Family
The history of Marinella family starts with the founder Eugenio Marinella who, when he was 34, and after fifteen years in the field of the men clothing,
decided that the moment had come to change the style and the way of dressing of a man of importance. He is just the founder of the " Marinella philosophy ":
more than a sale point, a salon where the human relationships are based on availability, courtesy and respect. After him, his son Luigi and today his grandson
Maurizio, have brought forth his philosophy making the Marinella ties a real symbol of elegance. In the years before his death, Don Eugenio had imposed his grandson
Maurizio, who was about ten, to spend every day a few times in the shop so that he could breathe its air; so Maurizio received two teachings: the one by his
grandfather about the relationships with the old clientele, and the one by his father that manages the advent of the economic boom. Maurizio has been able to
conjugate the entrepreneurial spirit with the availability for clientele: in the Christmas period, for example, when the queues at the shop are endless,
he offers sfogliatelle and coffee to the people in wait. If the small shop in Naples is, today as yesterday, the place of meeting of the elegant people of
the whole world, it's dued to the three Marinella generations, that have never wanted to transform the name in a great trademark, but they have preferred
to associate to it the image of small shop that today, as in 1914, proposes products of quality in a discreet and convivial but in the meantime informal background.
History > Customers
Luchino Visconti ordered galore of it, all with blue or red background, unlined as foulard that he coordinated to coloured small pocket Idian silk handkerchiefs.
Aristotle Onassis used to buy twelve of it in one time, rigorously black, to discourage the interlocutors and never to make them to understand of what humor he was.
Still today, as at the beginning of the century, the Marinella ties are round the neck of the most elegant and famous men: the book of the signatures jealously
guarded in the shop enumerates the autographs of a lot of crowned heads and presidents of state, high exponents of the politics and the entrepreneurial world,
of the culture and of the show. They have been round the neck of all the American presidents from Kennedy onwards, included Bill Clinton who was given them by
his wife Hillary. Today among the noble customers there are King Juan Carlos and the prince Alberto of Monaco, several exponents of Agnelli house, but also Cossiga,
Berlusconi and D'Alema.. Men endowed with good taste, who don't want to resign the tie, manufactured to measure by experienced hands, men for whom a Marinella tie
is a true "author's knot."
History > Recognitions
THE GARTER'S ORDER
On the origin of this famous and noble Order, the most prestigious, various versions exist. The most accredited tells that the king Edoardo III during a court
ball held in the evening of January 19th 1350, picked up the garter fallen to the countess of Salisbury, exclaiming: "Honny soit qui mal y pense!"
(be vituperated who thinks ill). The order was created in God's honour, in the Blessed Virgo Maria's, in S. 'Edoardo's and in St. George's,
patron of England. The Pontifex Clemente VI approved and recognized the order granting in canonical collegiate to erect the church built in honour of St.
George in Windsor. The order is composed in its institution of 25 knights and is conferred for the highest services given to the nation. Every year the Garter's
knights meet in Chapter, in the chapel of St. George in the castle of Windsor, on April 23rd, St. George's day. Originally the insignia of the order was a Garter;
as the time passed the Collar with the locket of St. George hanged to a blue ribbon and the plaque were added. On the garter the maxim "Honny soit qui mal y pense"
is embroidered. This sentence, together with a royal coat of arms surmounted by a crown with an unicorn on a side and a lion on the other side, appears on a luxurious
ashtray in blue ceramics. The ashtray is set on a dark piece of furniture, nearby an old wooden clock, with the hands that mark 17.00, hour of the tea in England.
The clock, the piece of furniture and the ashtray are set in a small corner of "Old England": Marinella's shop.
In fact Marinella has been official supplier of the English royal house for one hundred years, and he is honoured of this prestigious decoration.
The "American" is a consistent knot, fit for the wide and stuffed ties.
The Americans welcomed with favour the advent of the wide tie and the first famous personage that adopted it was Nixon,
imitated then by Ford and by Carter. While in the United States the "American " is almost exclusively performed on wide ties,
in Europe it is used with ties of every type. It mostly shows up on shirtswiththe American collar, that is fastenby two
little buttons.
How to do it:
The wide part (A) placed on the tail (B)
completes a turn around itself andis inserted in the duplexaround the neck.
From there it passes through the ring formed around the tail (B).
The knot is finally tightened, pulled and made to flow toward the collar.
Style > Art of the Knot > Bluff
The "Bluff" is perhaps the most common of the mounted Ascots.
It's of larger dimensions in comparison with the regular Ascot and it would be therefore more complicated hand-made.
Apparently there is no knot, but it is hidden by the legs slightly maintained lifted by a seamand crossed.
How to do it:
The mounted tie is an artificial tie, fictitious, a pure expedient that gives life to a knotted tie,the knot of it is sewn.
Style > Art of the Knot > Churchill
The "Churchill" is a type of papillon that has received a lot of
success between the twenties and the fifties when it was the symbol of success and elegance. The particular
curvilinear - rectilinear cut of the " Churchill ", gives a certain thickness to the ribbons and to the bows.
Such a papillon fits to any occasion. The different use will be imposed therefore by the type of material with which
it is realized.
How to do it:
It is necessary to placethe right ribbon (A) on the left one (B)
and then it is inserted in the duplex around the neck.
Then the right ribbon (A)passes on the left one (B) folded up in two and placed obliquely.
The extremity of the right ribbon (A) is then fold up and so inserted, from the bottom upwards, into the ring that has been formed.
It is finally necessary to throw the bows and the opposite ribbons.
Style > Art of the Knot > Classical
The variations of the knots of papillon are of competence of few experts.
To a skilled eye bows and ribbons don't seem to change much. What changesis the same nature of the papillon that any time
is knotted in a different way: this creates light differences, almost imperceptible. The "Classical" is a particularly
composed knot, fit to papillons, ready to be worn, since, once prepared, it is rather difficult to loosen.
For thatit is used above all by the tie-sellers for the papillons to sell already knotted.
How to do it:
The right ribbon (A) is inserted into the low duplex:
then it must be folded up in two and, set transversally, it has to meet with a torsion of 180°.
At this point it is necessary to insert the left ribbon (B) into the duplex
and after having folded up the duplex extremity,
it must be inserted into the ring.
Style > Art of the Knot > Diagonal
This knot is characterized by a diagonal cut that creates an askew
line on the knot. It can almost exclusively be prepared with a cashmere tie. In the Diagonal the knot is uncovered and
leaves the fold in sight. It creates a bright-dark game at the centre of the same knot. To valorize this knot it is better
to use a bright tie in even tint with small patterns
How to do it:
It is necessary to place the wide part (A) on the tail (B)
and then it makesa complete turn around itself.
Then it is necessary to insert a finger into the ring, and the wide part (A)must be inserted into the duplex.
Finally it must be inserted sideways into the ring and pulled twisting.
Style > Art of the Knot > English
The "English" is pre-eminently the classical knot. Up to the sixties it
was the knot wornt by the greatest part of the English population. Initially used by the dominant class, it was in a second
moment imitated by the rest of the population. The same Edward VIII, before passing to the " Windsor ", usually wore this
type of knot. To realize itwe need a tiethat doesn't overcome6/7 cms of width and the knot must not be taller than 3 cms.
It's a neutral and balanced knot: neither too breadth nor too narrow.
How to do it:
The wide part (A), placed on the tail (B),
completes a turn around it
and therefore is inserted into the duplex around the neck.
From there it passes through the ring formed around the tail (B). The knot is finally tightened, pulled and made to flow toward the collar.
Style > Art of the Knot > Puff
This one is a mounted Ascot that has however a shape very similar to a knotted tie.
It is a normal Ascot that is sewn to the knot. The legs are slightly rounded to the exit from the knot. Sometimes for the swell wealso
recourse to the use of a stuffing. The Puff Ascott is generally completed with the application of a pin.
How to do it:
The mounted tie is an artificial tie, fictitious, a pure expedient that gives life to a knotted tie, the knot of it is sewn.
Style > Art of the Knot > Half Windsor
The "Half Windsor" is a knot very similar to the "Windsor", but it
differs from it for the fact that the preparation provides one less step. This makes it less conic than the Windsor one.
It is a not too large knot that can be used both to give more thickness to the knot of a too tight tie, and to flatten the
knot of a particularly wide tie. It is not fit to the knitted ties.
How to do it:
After having passed the wide part (A) on the tail (B) and into the duplexaround the neck, it is placed on the tail.
It is inserted then from the lower part into the duplex
and therefore into the ring.
Style > Art of the Knot > Very Simple
As the same name says it is even a simpler knot to prepare than the
normal one. It results more flat and thin and in comparison with the normal sequence it saves a step. To get the effect
of the "Very Simple" the secret laysin impressing to the wide part a torsion of 180° in the first phase. This knot has
got a good holding, and although it is very simple to be prepared, it can be untied with more difficulty in comparison with
the normal one.
How to do it:
It is necessary to fold up on itself of 180° the wide part (A)
that you will pass under the tail.
Then you will insert it first into the duplex and then into the ring.
At last the knot is tightened and is thrown up to the collar.
Style > Art of the Knot > Windsor
It was launched by Edward VIII duke of Winsor. It is not sure that just
he invented it, since already his father George V wore a very similar tie-knot. In Italy it is called "Scappino" by the
name of the Turinese tie-factory that, shortly before the second world war, gave its own customers a workbook containing
the instructions to realize it. It's a knot with a conicstructure, particularly fit to the shirts with an opened wide collar.
It turned out a great success in the south of Italy, in Spain and in South America.
How to do it:
You make the wide part (A) pass on the tail (B)
then into the duplex and a second time behind the tail (B) and into the duplex.
Then pass it on the tail (B) and a last time into the duplex around the neck.
You finally make it to slip into the ring.
Style > Tailor's Tradition
It represents one of the full stop of the contemporary civilization. This type of suit was born at the end of last century to answer the demand of the economically productive class to
be dressed in a practical, sober but however elegant way. The man of the end of 1800 doesn't spend anymore his time exclusively to laze in the salons, but they are daily busy to work in the office,
in the bank or in a shop. His clothing fits to the new status and rediscovers the natural lines of the body: the short coulottes grow longer, the volumes of the stuffings and the volants decrease
and the cuts are made more simple and linear. Under the spur of this apparent renouncement of the aesthetics, the elegance becomes an even more fine and refined art. Being elegant was and still
is a challenge entrusted above all to the care of the particulars. These are the ones that make the personal style an inimitable style. The new man suit is enlivened only by few notes of colour
that attenuate the austerity of the dark tones.
The waistcoat, the shirt, the tie take in such a way a role of primary importance and they become symbols of a social status, marks of style and elegance.
Style > Historical Notes
"La cravate c'est l'homme" as you can read in the "Journal des dames" of May 30th 1835. It'a about a certainly essential accessory of the classical man clothing, but surely lacking in functionality.
On the other hand just its "uselessness" has made it ever so an emblem of social distinction: through it the man can express his own nature and his own daily moods. The term " tie " (in ancient Italian
" corvatta ", the modern Italian term is "cravatta") it is generally thought to derive from the French cravate, adaptation of the Croatian word hrvat (Croatian) and therefore it would mean Croatian.
But according to some studious the word would not have Croatian orgins but it would be connected to the Turkish terms kurbac and the Hungarian korbacs, terms, that designate both long objects, as the
lash and the whip. Anyway the French term "cravache" means whip, and in France the term "cravate" was already used in the XV century to define a long and thin piece of cloth. In Italy the term cravatta
was used during 1500 as Caesar Vecellio testifies in the book "About the ancient and modern clothing in different parts of the world" (1590), in which with regard to the focale, (ancient Roman scarf)
Vecellio writes that it was "a kind of cravatta."
Going over the history of the man we meet the so-called "protocravatte" or raher mysterious accessories considered the progenitors of the modern cravatta. About two thousand years ago the Egyptians sometimes
put round the neck of the mummies an ornament, probably an amulet that had the shape of a cord hold by a knot. A few centuries later in China people used a cloth to knot round the neck: we have come to
knowledge of it after the discovery of the tomb of Shin Huang Ti (III century b.C.), the Chinese emperor famous for having let the Great Wall be built. In his tomb 7500 terracotta soldiers have been found,
each of them wears round the neck something very similar to a knotted scarf. In China there aren't however other testimonies of this type of accessory. Three centuries later in the Western countries another
"protocravatta" appeared. The iconographic testimony even in this case is respectful: it's about the Traiana column, raised by Traiano in 106 b.C. to celebrate the fortunate campaign against the Dacis.
Observing with a lot of attention the Roman soldiers represented in the frieze, some legionaries have been noticed to have round the neck a type of handkerchief refolded under the armour.
Style > Historical Notes
Instead other soldiers
are represented with this handkerchief simply knotted round the neck. Roman soldiers may have inherited this accessory just from the populations of the Dacia, probably using it to shelter themselves from the
particularly rigorous climate. It is thought that following the campaigns in Dacia, the use of this handkerchief to be knotted round the neck had spread among the Romans, not only among the soldiers, but also
among the countrymen. Some famous Latin writers, such as Orazio and Seneca, remember that the Romans sometimes used a scarf called focale, just because it wound the throat. Nevertheless it seems that above all
sick or effeminate people had resort to this accessory.
But only starting from the XVII century both the term tie and the same accessory make their official entry in the life of the man. The real birth of the tie is connected to a precise historical event: the Thirty
years war (1618-1648). During this conflict the tie appears for the first time round the neck of the Croatian soldiers, skilled mercenary knights who sold themselves to the better bidder and that wore an uniform
that provided something very similar to a tie. It was probably a long collar, of great fashion in that period, knotted however in a particular way. These soldiers became famous for their tie and they unintentionally
launched its fashion, so that, for more than one century, the Croatian regiment at the service of the King of France was called "Real Cravatta." Before crystallizing itself in the modern cuts, the tie has passed through
numerous transformations. A first change was in 1692. In that time the Steinkerques tie was born, by the name of the place where a bloody battle took place, fought and won by the French against William III of Orange.
To face the attack launched by surprise against their camp, the French officers in the hurry knotted their ties with negligence, leaving the leaning extremities simply inserted in a buttonhole. Following such episode
a new fashion was born, that spread first in France and soon after in Italy.
Style > Historical Notes
At first the tie was a simple scarf, adorned with lace and tulle that had a great success all 1700 long, and it was realized in very fine flax.
At the end of the same century the tie became wider and was worn rolled up more times around the neck and knotted fore, leaving the extremities shorter and hanging. With the French Revolution also the clothing was crushed
by a revolutionary wave and got a footing the fashion of the Incroyables, the nonconformists of the time, who wore very long ties to wind innumerable times round the neck. Since the first years of 1700 in fact both the
men and the women often wore round the neck bands of silk, knotted as a bow, that could be worn naked-neck or placed on a piece of dampened cloth. The papillon (French term that means butterfly) was born as a simple and
instinctive knot. It is a variation of the plain knot used by the sailors both to reduce the sail and to connect the extremities of two tops. At the beginning of the XIX century the tie started to be knotted in varied
ways and the edges were left more or less long. A certain success had also the stocks or the mounted ties. Although the white tie firmly held the field, about the half of the century the black tie peeped out, that received
a good success. During 1800 the tie started taking the modern physiognomy. The affirmation of the dark suit supported the opening of this accessory to the colour and to a wider range of materials. At the end of the century
finally the "modern" tie made its appearance, its success was contemporary to the fashion of the shirt with a starched, tall and rigid collar. Its main characteristics were stabilized in a precise typology and only cut and
width kept on varying according to the fashions.
Style > The Decalogue
The founder of the Marinellas run after the man elegance all his life long, the starched shirts, the cylinder hats, the gaiters and the walking sticks. In him the sense of the good taste and of the formal rigour was innate.
Here are some of the teachings that Don Eugenio Marinella distributed to all those people who wanted to make treasure of it:
1- As in all the things, also for tie it is a matter of size: the correct one stays between 8,5 and the 9,5 cms at the widest point
2- The knot: it's important to learn to do it without tightening too much, avoid the effect "hung." Always untie it in the evening and hang the tie well stretched during the night.
3- Using the correct material: silk jaquard for the regimental, lighter silk model foulard for the printed cloth, pattern for the ties with an elegant tone, lines wool or Scottish patterns for winter sporting clothing.
4- A tie for every occasion: in the morning prefer a light colour and patterned tie, in the evening opt for a darker tie.
5- Don't take advice and don't remit the choice of the tie to anybody: the only rule is to follow the instinct. Choosing the tie has to be an irrational action.
6- The instinct has to follow a certain logic, too. Absolutely avoid: too wide and showy patterns, ties with an only central pattern but also too pale and anonymous ones. Remember that the tie reveals the personality.
Style > The Decalogue
7- To prefer: even tint ties in definite colours, small patterns (pois, lozenges, little squares, rhombus, small cashmere prints), transversal lines of two or three colours at the most.
8- The colours: the tie must stand out against the suit and the shirt, without clashing. It must be of a colour darker than the shirt's one and more intense than the jacket's one. It's often the only coloured note of a serious clothing,
but pay attention not to exaggerate! Avoid the pea green, the canary yellow as the fire red and the sugared almond pink. Darker colours, but not anonymous the bordeaux and the dark red, the blue, the green and the brown.
9- The combining with the shirt is a mine-field where only the good taste can drive you: avoid however the overlap of a tie with a thick pattern on a squared shirt or the combining "all-stripes" of a regimental tie, stripes shirt and
jacket in operated material.
PARMA
Friday, 11th May 2012 | From 9am to 19pm
Maurizio Marinella is pleased to invite clients and friends to the habitual fabrics and ties exposition in Parma at Restaurant SANTA CROCE via Alberto Pasini, 20
BOLOGNA
Sunday and Monday, 13th-14th May 2012 | From 9am to 19pm and from 9pm to 15pm
Maurizio Marinella is pleased to invite clients and friends to the habitual fabrics and ties exposition in Bologna at HOTEL CORONA D'ORO via Oberdan, 12
Events > Books
Atelier > Showroom
NAPLES - historical site Riviera di Chiaia, 287
showroom
virtual tour
photos
MILAN Santa Maria alla Porta, 5 (Magenta Zone)
showroom
photos
LUGANO Via dell Posta, 2 - Canova corner
showroom
photos
LONDON 54, Maddox Street, Mayfair
showroom
photos
TOKYO 9.7.4 Akasaka Minato-ku
showroom
photos
Atelier > World
Japan
- TOKYO 9.7.4 Akasaka Minato-ku Tokyo 03 5413 7651
- SOLFERINO Marunouchi Brick Square 1F 2-6-1 Marunouchi, Chiyoda-ku, Tokyo
- ISETAN (Shinjuku branch) Marinella is sold on the 1F 3-14-1 Shinjuku, Shinjuku-ku, Tokyo
Belgium
- BRUXELLES 7 Boulevard Boulevard de Waterloo, 7 Bruxelles
Atelier > World
United States - NEW YORK Bergdorf & Goodman 754 Fifth avenue NY 10019-2581
France - PARIS Hotel Four Seasons George V 31, avenue George V - 75008
Le Bon Marché Rive Gauche Espace Balthazar - Rez-de-chaussée bas (-1) 24, rue de Sèvres - 75006
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