Blending Magazine – Page 2 – Finding Florence

Casini Firenze: The Art of Timeless Leather Craftsmanship

written by JJ Anderson, Madeline Hines, Mia Besl & Carys Abbott

This blog feature is an exclusive bonus installment to our Spring issue of Blending Magazine. After you finish reading, be sure to explore the rest of the magazine online—just follow this link to download the full Spring 2025 edition:
https://jschoolfua.com/images/BM/BM_151.pdf

Rooted in Florence’s rich tradition, this brand creates bespoke leather pieces that embody authenticity and artisanal skill, standing apart from fast fashion.

When most people think of Italy’s vibrant fashion industry, names like Prada, Gucci, and Valentino often come to mind. However, for those who truly appreciate the essence of local craftsmanship, there’s a lesser-known, yet highly revered brand, Casini Firenze. Nestled in the heart of Florence, the store is a standout in a city already known for its centuries-old leather craftsmanship.

The city’s longstanding practice of leather craftsmanship dates back to the Middle Ages. Florence was found to be an ideal environment for leather production because the Arno River provided access to water needed for time-consuming, labor-intensive techniques like leather tanning. By the 13th century, the city was renowned for producing high-quality leather goods, particularly for the nobility and elite classes across Europe. Over the centuries, Florentine artisans have continuously developed their methods, perfecting the art of tanning and dyeing leather.

In the aftermath of World War II, passionate leather craftsman. Giorgio Tattanelli, opened his family-run business which he named Casini Firenze. Casini specializes in crafting handmade leather totes, wallets, purses and more using authentic Tuscan leather and centuries-old craftsmanship. They pride themselves in being a limited edition brand, upholding timeless Italian values while creating special pieces for each client.

Amid a global fashion economy dominated by the constant manufacturing of mass-produced garments, the brand stands today as a reserved, yet powerful force in Florence’s underground fashion scene.

The store is located in Piazza Pitti, directly across from the Pitti Palace, making it a convenient stop. Upon entering, you’re welcomed by a glass window display showcasing Jennifer Tantinelli’s latest collection. Almost immediately, a sales attendant greets you, ready to elevate your shopping experience. The staff are experts on Casini products and provide a top-tier luxury service to ensure you leave completely satisfied.

After speaking with a few sales representatives it became clear to us that the brand is far different from the fast fashion stores we walk past daily. Casini Firenze‘s unwavering commitment to quality and authenticity proved a stark contrast to the disposable, fleeting nature of mass-produced clothing. Each piece tells a story of dedication, skill, and a deep respect for traditional Florentine artistry that cannot be replicated by factories or synthetic processes.

Specializing in custom made collections, the brand offers clients the opportunity to personalize a piece’s color and style to suit their individual taste. In addition, it provides bespoke services, allowing customers to design a truly one-of-a-kind bag that reflects their personal style and preferences. Among their most iconic creations is the Infinity Leather Basket Bag, a signature piece in the brand’s collection. This bag is made from leather pieces being meticulously weaved in an infinity pattern around a wooden box, giving the piece its signature basket-like look. This bag is available in seven distinct colors, and the customer even has the luxury of adding customizable elements to the bag.

Obviously, these unique pieces would not be created without the brainpower of new designers of the years. In 2002, Jennifer Tantinelli, granddaughter of the brand’s creator and New York native, took the reins of the family business. A lover of classic fashion, Jennifer was inspired by Audrey Hepburn’s timeless style-a vision that aligned perfectly with Casini’s commitment to tradition and elegance. Jennifer followed her family’s roots back to Italy and under her leadership, Casini Firenze transitioned into a modern-day luxury brand while still honoring its artisanal roots.

Despite facing numerous challenges, most notably the global disruption caused by the COVID-19 pandemic, Jennifer’s vision has allowed the brand to thrive. While the flagship store in Florence closed for nearly two years during the height of the pandemic, Jennifer was able to sustain her business through its location in Palm Beach, Florida.

One of the defining features of Casini Firenze is its commitment to maintaining full control over the production process. Unlike many luxury brands that outsource production, Casini prides itself on being self-reliant. The Tantinelli family makes all the leather products in-house, working with local artisans to ensure each piece reflects the highest standards of craftsmanship. This hands-on approach has allowed the brand to retain its authenticity and the hallmark spirit of Florence’s leather legacy.

A Guided Journey Through the City’s Creative Underground

written by Alison Sweeney

From literary cafes to rebellious music movements, uncover the lesser-known artistic history behind some of Florence’s modern-day cultural hot spots.

Florence’s Underground Artistic and Creative Scene

Though Florence is known for its Renaissance art, grand architecture, and famous landmarks, the city has a hidden artistic scene that offers a different kind of cultural perspective and experience. While many of the venues that once hosted this creative underground scene have become more commercial over time, their roots tell hidden stories of rebellion, reinvention, and the key to discovering true Italian culture. This travel guide invites you to step into Florence’s underground, not just physically but historically, creatively, and culturally.

Caffé Giubbe Rosse: A Literary Revolution is Brewed

Start your journey at one of the most famous historic literary cafes in Florence, Caffé Giubbe Rosse, where famous poets and writers sat to scribe and exchange radical ideas. According to the article, “Grand Re-opening of Caffé Giubbe Rosse” by Accord Italy Smart Tours, Caffé Giubbe Rosse is located in the Piazza della Republica and was established in 1896 by two German brothers. The cafe earned its current name, meaning Red Jackets, because it was inspired by the red uniform worn by the waiters.

Caffé Guibbe Rosse grew to become a hub for intellectuals, artists, and writers. The cafe played a pivotal role in the Futurist movement and served as a gathering place for avant-garde thinkers like Baccio Maria Bacci, who looked to challenge traditional artistic roles.

Today, visitors can still visit the cafe and bar to experience the Italian cultural experience and legacy, where you can find some original Futurist writings still on display!

Teatro Verdi: Reinventing the Stage

Next, step into the dimly lit Teatro Verdi of the 1980s, where the stage is filled with redefined Italian performance and shortly became a prestigious turnpoint in the uprise of the futurist avant-garde movement. Teatro Verdi transformed into a space for the most sophisticated pop and rock music and for unconventional drama.

According to the Teatro Verdi website, the theater was inaugurated in 1854 and is the largest “Italian-style” theatre in Tuscany. Located in the historic Santa Croce district, it was built on the remnants of the 14th-century Carcere delle Stinche. In the early 20th century, the theater embraced the futurist avant-garde movement, which challenged traditional theatrical norms. These weren’t just performances but protests, celebrations of youth, and identity in a space of avant-garde reinvention.

Today, Teatro Verdi remains a diverse cultural venue, offering classical music, contemporary performances, and pop and rock concerts, reflecting the artistic landscape Florence has to offer.

Tenax: A Hub for Florence’s New Wave Movement

Last but not least, explore one of the music venues that fueled the cities’ New Wave movement in the 1980s, Tenax. Tenax quickly emerged as a hub for new artists and musicians by influential New Wave and post-punk bands and today remains a symbol of Florence’s alternative music history. Picture this: it’s September 1981, and amid Florence’s enthusiasm for new wave, dark, and punk sounds from the UK, Tenax emerges as a pioneering nightclub. According to the Tenax website, the club was founded by a group of young entrepreneurs and quickly became an innovative and alternative hub for emerging artists, fashion designers, and musicians. Tenax’s stage has hosted an impressive number of acts, including Spandau Ballet, Bauhaus, and New Order, becoming a cornerstone of Italy’s music scene. Bands like Litfibia and Neon, formed in Florence in 1979, found a platform at Tenax for their innovative sounds.

As the music landscape evolved, Tenax adapted and began to embrace other genres like house music. The club’s ability to reinvent itself while maintaining its core identity has ensured a lasting influence on Florence’s cultural aspect.

All of these examples of Florence’s underground cultural scene offer a rich and nuanced perspective of the city’s artistic evolution. These places, now more visible, carry with them the same legacy of those underground revolutions. So, next time you find yourself in this beautiful and magnificent city, look closer. Look beyond the espresso machines, beneath the stage lights, and in the echoes and flashing lights, and maybe you’ll find the story of a city whose past reflects a magnificent creative rebellion.

The Upkeep of a Cemetery Honoring Fallen American Soldiers

written by Ansley Peterson

A determined young man in a black puffer jacket nervously clutches a map, tapping his fingers on its cover. An American teenager crouches by a headstone and slowly traces his fingers over the letters of its inscription as his dad watches from afar. An elderly couple stands at the entrance, shoulder to shoulder in awed silence as they look upon rows and rows of graves. They walk slowly, hand in hand, steeling themselves for the journey up the sloping path ahead of them. No matter the reason, it’s 10 a.m. on a Thursday in March and the lives of these strangers all intersect here at the Florence American Cemetery.

Situated on the Greve River just outside of Florence’s city center, Americans and locals alike make the trip to the cemetery to gain familial closure and to learn more about the historical ties between Italy and the United States. The location of Florence was chosen for a multitude of reasons, starting with its ease of accessibility because of the nearby Santa Maria Novella train station and the bus routes that run with stops at the cemetery throughout the day. Since this is a World War II cemetery, there is a higher likelihood of visitors being descendants of those who have fallen and having memories to share and preserve about those buried here.

Florence American Cemetery is managed by the American Battle Commission, whose overall mission is to ensure that “time will not dim the glory of their deeds.” Current superintendent Eryth Zecher has been working at the Commission for five years and has been maintaining the Florence American Cemetery for the past year and a half. She explains that the process for choosing the location dates to just after World War II when temporary cemeteries were set up in areas where major battles had just occurred. It was a time of transition when some of the fallen service members were being shipped back to America to their families and the temporary cemeteries were being compared to see which would be best fit for building a permanent cemetery. The Florence location allows a good proximity for visitors, and its rolling Tuscan hills made it a beautiful environment that was deemed fit for the sacrifices of the men killed while liberating nearby cities in the Northern Italian Campaign.

It seems surreal that their bodies eternally rest below the freshly manicured grass, with nothing but a shiny marble cross to signify their life’s worth. Lead gardener, Leonardo has been working with the nature of the cemetery for the past 10 years to keep it as close to the condition as the year that it was founded, in 1960. He polishes the headstones with a sponge and blows off all leaves and debris from each plot. He is passionate about his work and pays close attention to detail because of the gratitude he has for its historical significance.

“My grandparents were freed by the American soldiers in 1944,” explains Leonardo, “For me, it’s an honor to work here.”

Small, perfectly shaped Tuscan Cypress trees line the perimeter of the grounds, standing like soldiers at attention over the headstones. Leonardo shares that adult trees don’t grow very well in the cemetery’s environment, so he and his team raise the trees from saplings and keep them looking uniform. They don’t use chemicals on the trees, and everything is done by hand, including removing all weeds from the property. On this blustery, Thursday morning, I watch as two men take turns anchoring down wooden support stakes for smaller trees and chopping off uneven branches.

The maintenance team and superintendent Zecher work diligently to make sure all the upkeep efforts reflect the promise to the fallen soldier’s families that their loved one’s resting place would be taken care of. The groundskeepers clean the memorial and headstones on a set schedule and work meticulously to keep them in perfect condition.

“It’s just the ultimate mission to be able to commemorate and honor these service members every day and also work in such a beautiful place,” says Zecher, “I couldn’t find a better way to spend my life than doing this mission.”

Florence Korea Film Festival 2025: Cross-Cultural Shock

written by Megan Cuviello & Ashlyn Loper

Since the 1980s, Florence has been an epicenter for art and has cultivated a space for individuals to express themselves. With the rebellious spirit of the city, fostering spaces for punk, street and alternative artwork and design, it’s no secret that the city has allowed for the culture within the city walls to flourish. This includes one notable place in Florence, Cinema La Compagnia. Cinema La Compagnia is a cultural venue located in the heart of Florence. The cinema opened in 1921 and was originally called Cinema Modernissimo. Then, between the years 1984 and 1987, it was transformed into the Teatro della Compagnia and eventually came to be what it is today. Cinema La Compagnia is a place where many film festivals and cultural festivals are held, making it the epicenter to showcase the art and talent of different cultures within the city of Florence.

The Florence Korea Film Festival 2025 was held at Cinema La Compagnia in Spring, 2025. It was a ten-day affair to showcase the different types of South Korean films, such as historical films, documentaries, short films, and many more of the South Korean culture. It showcased many independent films and filmmakers and allowed time for audience interaction with the filmmakers. This film festival has been held in Florence over the past two decades, and people from all over Europe, the United States and all over the world come to see the culture displayed at the Cinema La Compagnia through the Florence Korea Film Festival.

Throughout the ten-day festival, we were able to attend multiple times to engage with individuals from all walks of life. On our first trip to the festival, we were introduced to the Florence Korean Film Festival Management Coordinator, Caterina Migliarini. We got to visit with Migliarini as she gave us an in-depth look into the festival while also introducing us to some of the history of Cinema La Compagnia. Migliarini stated, “People from all over come to the Cinema to see the Florence Korean Film Festival. People from Estonia, the Czech Republic and even India,” showing the cultural diversity that is welcomed into spaces of this nature. Migliarini also stated, “The beauty of the cinema is not just for the younger generation – it is for the elders and older generations.” This sparked conversation within our group as we reflected on the generations that had walked through Cinema La Compagnia at different times in history. Migliarini shared that it is one of her favorite places, if not her favorite place, in all of Florence, as she lives just down the street. Migliarini continued to share about how “the Cinema brings in Korean culture to other places” and the connections Cinema La Compagnia has with various universities, such as the European University Institute and also our very own FUA & AUF campus.

On our next trip to the Cinema La Compagnia and the Florence Korean Film Festival, we were able to attend a masterclass led by famous director Na Hong-jin. This South Korean film director was debuting his new film “The Wailing”. During this masterclass, we were able to learn more about his film detailing a Japanese man’s arrival in a small community. Through the masterclass, Hong-Jin’s passion for his work truly shone and allowed everyone in the room to grasp his concept. This also shed light on the true meaning of the independent film and allowed for a deeper understanding and appreciation that goes into all of the films shown in the festival.

Overall, the Florence Korea Film Festival at Cinema La Compagnia has opened its doors to a wide array of individuals and the artistry behind the independent films shown. While this film festival is just one effort in the continuance of the rich cultural heritage behind Cinema La Compagnia, it is also one of the many pieces to Florence’s cultural preservation and cross-cultural engagement. Everyone should take the opportunity to continue to support local and independent filmmakers, along with exploring the Florence Korea Film Festival for the 24th annual exhibition in 2026.

Art as Protest

The Political Undercurrents of Florence’s Futurism Movement and Its Impact in the Modern World

written by Susana Colunga

Florence has long been known as the cradle of the Renaissance, a symbol of classical beauty and deep cultural tradition. But by the 20th century, the city; like much of Italy, was ready for a leap into modernity. This transformation came with the rise of Futurism, one of the most radical and revolutionary artistic movements of the time.

Founded by Filippo Tommaso Marinetti on February 20, 1909, Futurism challenged Italy’s cultural conservatism and aligned itself with bold political change. The movement rejected traditional ideologies like conservatism, liberalism, and socialism, instead celebrating a new vision that emphasized speed, innovation, violence, and the power of the individual.

Futurism aimed to destroy the past in order to build a new, dynamic future.

The movement began with Marinetti’s Manifesto of Futurism, a provocative call to artists around the world to embrace modernity and abandon outdated ways of thinking. It inspired creatives and politicians alike, offering a blueprint for revolution and renewal. For Futurists, artists were not just visionaries they were leaders, responsible for reshaping the political and cultural landscape.

In Florence, Futurism quickly aligned with the rise of Fascism and the political career of Benito Mussolini. As Marinetti publicly supported Mussolini, many Futurist artists followed, embracing violence and destruction as necessary tools for building a new world. Their art reflected this ideology through militaristic and nationalistic themes, visible in poetry, posters, and especially painting. In his manifesto, Marinetti famously called war “the world’s only hygiene.”

The relationship between Futurism and Fascism intensified during World War I. Marinetti and his followers supported Italy’s entry into the war, and some even volunteered to fight.

However, rather than ushering in the radical transformation they envisioned, the war left Italy politically and economically devastated. This collapse only deepened the Futurists’ desire to rebuild a powerful, modern nation.

In 1919, Futurists carried out one of their most notorious acts: the burning of the socialist newspaper Avanti! in Milan. Led by Marinetti, the group set fire to the newspaper’s offices, seeing it as a symbolic act of defiance and alignment with Fascist ideals. Their commitment to political violence only grew, and by the March on Rome in 1922, which brought Mussolini to power, many Futurists believed they had finally achieved the society they had long imagined. But over time, Fascism became more institutionalized and authoritarian, drifting away from the chaotic, revolutionary energy of Futurism. Eventually, the two movements diverged, with Fascism absorbing some Futurist aesthetics but abandoning its more radical artistic ideals.

Still, Futurism’s legacy didn’t disappear. In the 1970s and 1980s, its influence reappeared in various political and artistic movements, particularly through its aesthetic and ideological emphasis on dynamism and transformation. One example is the Italian Autonomia
Movement of the 1970s, a radical leftist collective of students and workers who rejected both capitalism and communism. Their use of bold typography, manifestos, and dynamic visual styles clearly echoed Futurist strategies. Elements of Futurist design found their way into underground magazines, protest posters, and political demonstrations.

Similarly, radical architecture groups such as Superstudio and Archizoom (active from the 1960s to 1980s in Florence) embraced Futurist ideals of destruction and renewal. Their futuristic designs, filled with utopian and dystopian visions, critiqued capitalist consumer culture and proposed bold alternatives to conventional architecture. These movements emerged from Florence’s long-standing tradition of underground intellectual exchange, dating back to the literary cafes of the 19th century, where artists challenged the dominant norms of their time.

Futurism was more than an art movement, it was a cultural and political force that left a lasting imprint on Florence, Italy, and beyond. From its revolutionary beginnings to its entanglement with Fascism, and later its echoes in radical protests and design, Futurism showed how deeply political ideology can shape artistic expression. Even today, we can trace the movement’s legacy in the ways artists challenge norms and imagine new futures, often in the same underground spaces where past movements once thrived.

Mystery Meets Mixology

The Evolution of Florence’s Hidden Bars and the Art of Underground Mixology

written by Trinity Conner, Molly FitzGerald, Olivia Adams, Lila Williams & Marisa Jones

Florence’s artistic spirit isn’t confined to its galleries and historic cafés; it also spills into the city’s underground secret bars—modern-day echoes of Prohibition speakeasies—where secrecy, craftsmanship, and storytelling converge into a singular drinking culture. The hidden bars, like the literary cafés of the past, create an underground atmosphere of exclusivity and creativity, elevating mixology to an art form.

The evolution of Florence’s modern hidden bar scene highlights how these establishments mirror the city’s avant-garde movements by reinventing tradition. Behind unmarked doors and secret entrances, guests enter spaces that showcase both history and innovation.

The underground nightlife of the 1980s has evolved into today’s hidden bar scene, shaped by the rise of cocktail culture and modern mixology. One key example of this evolution is Rasputin, Florence’s first hidden bar, discreetly tucked away in Santo Spirito. This underground cellar, with its candlelit tables, antique furnishings, and a rules page on the menu, transports visitors to a vintage atmosphere where handcrafted cocktails strike a balance between tradition and innovation.

Taking a visit to Rasputin feels like traveling back in time, allowing individuals to feel immersed in rich history. Maintaining a strict no-phone policy, discouraging excessive phone usage, and flash photography to keep the experience authentic. These policies enforce full presence, something that is rare in today’s digital world. The hushed conversations, the clinking of glasses, and the soft jazz music in the background make it feel like stepping into another era.

Marco Vinci and Ghermai Zerazion, the co-founders of this hidden gem, came up with the idea to bring a seamless combination of America’s past and present to Florence, Italy. During Prohibition in the United States, the production, sale, and transportation of alcoholic beverages were outlawed. As a result, clandestine bars, now known as speakeasies, sprang up across the country. Therefore, these tucked-away spots were places where people could socialize, dance, and drink bootleg whiskey and gin, despite the looming threat of raids, arrests, and jail time. The consequences were harsh, but the desire was irresistible. Rasputin allows individuals from all over the world an immersive experience of life during this time.

The cocktail menu is as thoughtfully crafted as the space itself, offering a mix of classic recipes with modern twists. The standout for us is “Our Bee’s Knees,” a drink that combines honey, lemon, and lavender into a refreshing and balanced flavor. The foam on top added a nice touch, making it feel both indulgent and relaxing.

The bar also has an impressive selection of over 300 labels, including a wide range of whiskeys, which made the menu feel like more than just a list of drinks—it is an opportunity to learn and explore. Overall, it is a place where the drinks and the atmosphere come together in a way that feels both approachable and special.

Rasputin isn’t just a speakeasy; it’s a hidden world that combines history, mystery, and artistry. If you are looking for a night that blends sophistication with a touch of secrecy, this is a must-visit while in Florence.

Beyond Rasputin, other hidden gems like Vanilla Club Speakeasy capture the charm of the Prohibition era with its password-protected entrance, dark wood interiors, and soft jazz music. The bar’s strict no-phone policy encourages people to experience expertly crafted, Italian-inspired cocktails in an intimate setting.

Beneath Grand Hotel Cavour, The Secret Bar offers an underground lounge experience framed by exposed brick arches and antique chandeliers. Florence’s culture inspires The Secret Bar’s menu, so they transform cocktails into stories that reflect the city’s artistic evolution.

Florence’s hidden bars are more than just places to sip cocktails, they are doorways to another time, where history lines the dimly lit walls and mixology becomes an artful performance. Like the literary cafés of the past, these speakeasies craft narratives with every pour, which blends tradition with innovation in a way that holds Florence’s charm.

Whether you find yourself behind the unmarked doors of Rasputin, sharing secret passwords at Vanilla Club, or uncovering the meaning of The Secret Bar, each visit is an invitation to step beyond the normal. In a city known for preserving its artistic heritage, Florence’s underground bars prove that history isn’t just something to admire; it’s something to taste and experience, one cocktail at a time.

Florentine Streets, Clet’s Canvas

written & photographed by Kathleen Morris

How many stories can a single office avocado tell?

As I set my laptop onto Clet Abraham’s cluttered desk, I took inventory of its miscellaneous contents: an avocado, a glass with a solitary drop of red wine left behind and an array of art supplies – pencils, cutting tools and scattered pages filled with cartoonish sketches.

I set my cellphone atop a strip of stickers depicting bright pink sausages, thumb hovering over the record button – ready to capture every bit of wisdom from the infamous street artist who I was face-to-face with at last.

The conversation was highly anticipated. Earlier that morning, after exchanging a flurry of WhatsApp messages with an employee at his Florence studio—including a pointed warning not to address him by his full name, Jean-Marie Clet Abraham—I stepped into the cluttered space – I made the trek across Ponte alle Grazie to his studio on a sun-soaked Monday afternoon.

Tiptoeing down the sidewalk, I realized I didn’t need to consult Google Maps to know I had arrived. I followed a wall plastered in a chaotic assortment of stickers – a street artist’s rendition of the yellow brick road.

My instincts were conﬁrmed by the street sign placed just above the door, reimagined to depict a tiny ﬁgure ﬂying through the air, its grip tight on the tip of the white arrow.

The use of street signs has become a trademark of Clet’s art.

Originally from France, Clet has now claimed Florence itself as his canvas.

I first encountered his work by the Medici Palace. With crooked eyes and a corkscrew neck, a portrait of childhood whimsy is plastered onto a traffic sign, its head formed by diverging arrows. In the following days, I began to train my vision to spot Clet’s characters tucked into every corner of this historic city.

My article joins countless attempts to profile the elusive artist, who has earned celebrity status (and over 160k Instagram followers) in a destination that echoes with the voices of the Renaissance.

I sought to understand the path of the man who sat across from me, salt-and-pepper hair draped across his forehead and backdropped by a wall of unfinished masterpieces.

The son of creative parents, he recalled his earliest inclination to art.

“When I was young, I used art to be free,” Clet said. “I don’t care about art. I care about freedom.”

Today, his urban installations serve as an outlet for self-expression and a medium for political commentary. With a rebellious flair, he inspires dialogue about pressing social issues and individual rights. Behind his desk, a sign was spray-painted with the colors of the Palestinian flag. The artwork, created in collaboration with the Art for Gaza Collective, exemplifies Clet’s efforts to garner a reaction from and activate the public.

“I don’t think I am the owner of my ideas,” he mused, reflecting on the essence of collaboration he shares with those who engage with his work. “The ideas pass through me,” he said, describing his ability to sculpt messages and inspire his community to think outside the box.

Clet refuses to be conﬁned by artistic boundaries, finding fulfillment in working beyond the walls of traditional museums.

“I don’t work with galleries,” he underscored. “The best place is always the street.”

Clet navigates the gray area between creating impactful art and defacing public spaces. The allure of street art lies in the ambiguity of this ruleless game – a game that Clet has mastered on a global scale, often operating under the cover of night.

“In the United States, I always [install art] at night because I don’t want the police to stop me,” he revealed. “I don’t want to have a big problem and lose my plane ticket to go back home.”

In a perfect world, city authorities would recognize the positive aspects of his work. He imagines that increased acceptance would act like a “business card,” allowing him to explore cities that are “more difficult, where there is less democracy.”

Until then, Clet can be found cloaked in darkness or in the safety of his studio at Via dell’Olmo, 8r in Florence.

Before I exited his sticker-clad oasis, I gathered two pieces of advice from Clet for aspiring artists: embrace your originality, and when working on the streets, it’s best to be a little drunk.

For more information, visit Clet’s website or follow Clet on Instagram (@cletabraham).

Are you guys Nazi’s?

written by Lilly Vergnes

Lorenzo Carollo grew up in the northern part of Italy, in a small town near Verona. He followed the typical life path of an Italian teen, adding some illegal graffiti work in the mix. After high school, he went on to study History in Padova. You might wonder what kind of hobbies and activities one gets up to in rural northern Italy. For Carollo, he did not have to look far. He works in a mechanical factory, takes an interest in medieval history, plays the bagpipe, and in recent years has become a Skinhead. He has his hair cut short, wears boots and bomber jackets and goes to as many concerts as he can. This is also where I met him, at a concert at the Centro Popolare Autogestito (CPA) in Florence. I personally go to the CPA for its cheap beer and good music. Little did I know, that night’s concert was being played and attended by Skinheads. My first thought and question when I heard ‘Skinhead’ was, Are you guys Nazi’s? They all laughed, and Carollo started to explain the Skinhead movement to me over the loud music.

Skinheads originated in Britain in the ‘60s. They were primarily influenced by Mod and the Jamaican Rudeboy subcultures, with a working-class pride and rejection of conservatism at the time. The original Skins had a lot of influences from Jamaican music and culture, such as Ska and Reggae. Later, in the ‘80s, a Punk aspect was introduced to the movement, with the working class Punk Rock Oi!. This was then mixed with the Jamaican genres from the previous generation, which was referred to as 2Tone. If these are the origins of the movement, then why do we only now associate Skinheads with white supremacists?

During that same time in the ‘80s, the movement split up into two very distinct directions: far-right and left/apolitical. Britain’s political climate was precarious, and far-right supporters saw the Skinhead subculture as an opportunity to express their ideology. This spread fast, and by the ‘90s, neo-Nazi and fascist groups existed all over Europe and North America.

photo by Lilly Vergnes
photo by Lilly Vergnes

This is the image we still associate Skinheads with today in the mainstream mindset. However, a reaction to these right-winged groups quickly started. The movement known as Skinheads Against Racial Prejudice (SHARP) was created as an anti-fascist and anti-racist group. Today, they are considered an extension of the original Skinhead culture, the ‘real’ Skins. Skinheads completely deny the fascist groups as part of the movement, even refusing to call them ‘skinheads’ but ‘boneheads’ instead. The Skinheads main ideals are inherently left-wing, although some of them identify as apolitical.

Carollo first became familiar with Skinheads through some people he knew from high school. As a teen, he was interested in forming his own opinions on political matters. He was approached by some guys from a far-right Skinhead group in Vicenza, who wanted him to potentially join their group. After listening to some of the things they had to say, Carollo decided that their opinions did not align with his morals at all. He had a good friend who was black, whom he knew to be a good person, so he thought: how could it be true that all black people were bad? He made up his mind and began associating himself with people from the anti-fascist side of the movement: Skins from a smaller group called the Reggae Lads. Their ideas and morals lined up much more with his own, as he explained, “I could never understand why you would decide to hate. If you see a black man walking on the street who is smiling, you can’t be happy for him just because of the color of his skin? This is so stupid to me.”

As for myself, I never realized that Skinheads are not what we see in the mainstream media. In reality, it seems like a subculture like many others, with their music, fashion and ideals, even ideals that most people could get behind. They are just as much, if not more, against neo-Nazi’s and facism as anyone else. In some way, they are the ones that are trying to make a positive change in the world.

photo by Lilly Vergnes
photo by Lilly Vergnes
photo by Lilly Vergnes

Hidden but Not a Secret: The Underground World of Mercato delle Cascine

A historic open-air market where Florentines gather to sell and find clothes, food, household items, and anything else you could possibly imagine. There is a vintage presence along with a modernized vision occurring here.

written by Meredith Simpson, Amelia Mora, Alaura Cross, Sabrina Harris & Katie Brooks

As you enter the 1.5-kilometer-long market, the hum of bargaining surrounds you–an elderly woman haggles over schiacciata bread while a mother negotiates the price of pecorino cheese. The freshly roasted porchetta drifts through the air, mixing with the scent of sun-warmed leather from handcrafted belts displayed on a nearby stall. The sight of endless crowds moving between stalls, clutching canvas bags brimming with colorful produce, is overwhelming. A sense of curiosity stirs inside from the “offerta €1.50” signs. You wonder: Is this an authentic Italian bargain or just a tourist trap?

Il Mercato delle Cascine is the largest and cheapest open-air market in Florence, with its origins traced back to the 19th century. The market started as a place for Florentines to gather weekly to buy necessities at a bargain price. It is located in the biggest park in Florence, Parco delle Cascine, along the Arno River, and remains in the same location. During the ‘80s, the market stood as a place for authentic Italian vendors to come and sell their products to locals. The market’s products reflected Italian craftsmanship, and vendors were often Florentine families who had been selling for generations. Vendors and customers knew each other, and shopping here felt like an extension of local culture rather than a transaction. The market fulfilled every need, from groceries to clothing and household items. You could find a cobbler selling hand-stitched leather shoes beside a seamstress repurposing vintage silk scarves into elegant blouses. It was an integral part of the Florentine community to go and find truly vintage items.

Since the ’80s, the market has grown beyond its original Italian roots, reflecting a wave of globalization. As Florence became a prime tourist destination, its markets shifted to cater to new demands. In the past, every item was locally sourced—whether it was a handmade ceramic bowl or a handwoven scarf. Now, the merchandise tells a different story. There is a new wave of vendors who sell low-grade clothing products for 3-5 euros. These products have been unethically produced, which contradicts the original purpose of the market. A stall once known for vintage linen shirts now sells polyester blouses with “Made in China” labels. Where artisans once handcrafted belts from Tuscan leather, now imitation leather accessories line the tables. They are often indistinguishable from real craftsmanship until you touch the synthetic material.

The arrival of new vendors has shifted products from locally sourced Italian goods to imported fast fashion. These goods have been replacing Italian leather with synthetic fabrics, yet are sold at the same price. One of the many clothing stalls sells dupe designer shoe brands like Alexander McQueen for 10 euros. This “sale” can give the market a less authentic atmosphere and offer these already inexpensive products at a price that feels like a bargain. It’s clear that these items are not vintage, nor are they part of Florence’s rich fashion history. But for many shoppers, price wins over authenticity.

One local who has visited the Cascine market for decades expressed how the impact of new merchandise has changed the market’s motive from what it was supposed to be. It was originally meant to be a place where locals would come to find second-hand items and give them a new life. Under some vendors’ tents, that’s still the case. You can find well-known re-purposed brands like Levi’s and Diesel for an amazing low price. The market is still successful in its own way, but the new generation of vendors has taken advantage of the authenticity as a way to make a profit on mass-produced fashion.

Some may see this shift as an evolution that keeps the market relevant, while others feel it dilutes Florence’s fashion heritage. The market is held only on Tuesdays from 7 a.m. to 2 p.m. and still flourishes today. The food still smells delicious, and the prices are still low. But is a bargain worth the shift in focus?

The Monster of Florence

“He came up with a perfect plan.”

written by Charlotte Cicero & Guido Togliatti

Beneath the romantic cobblestones and rolling hills of Florence, Italy, lies one of the most disturbing true crime stories in European history. Between 1968 and 1985, a series of gruesome double homicides occurred in the Tuscan countryside. Il Mostro di Firenze—The Monster of Florence—created a legacy of terror, controversy, and conspiracy, and a decades-long series of unanswered questions.

A Pattern of Death

The first known crime occurred in 1968, though it wasn’t immediately linked to the rest. It wasn’t until a similar attack in 1974 that authorities began to suspect a serial killer might be at large. For 17 years, the murders continued. As media speculation and fear grew, so did the number of victims.

Il Mostro di Firenze sought out young couples seeking privacy in rural areas and often attacked while the couples were in their cars. Throughout the serial murders, the weapon used was consistently the same—a .22 caliber Beretta pistol. The ritualistic elements in these murders pointed toward a deranged but highly meticulous criminal at work.

Insights from Florence

To better understand the grip this case holds on Florence, we spoke with Fabio Binarelli, a native of Tuscany and professor at The American University of Florence, who offered personal insight into the murders and their legacy.

Binarelli noted that the killings followed a consistent pattern: the male victim was shot first, followed by the female, who was also often physically mutilated—most often targeting the breast or pelvic region. “That’s what made it feel truly serial,” Binarelli explained.

The investigation was very complicated. Binarelli explained, “Today everything is on your laptop—but back then, to connect several files of investigation, you had to have one clever investigator who connected places and years with the details.”

Eventually, suspicion fell on Pietro Pacciani, a violent Tuscan farmer with a disturbing history. “The investigation narrowed down to one person specifically and his close circle of friends,” Binarelli told us. Pacciani had once killed another man out of jealousy and had been known for abusing his wife and daughters. While Pacciani was convicted in 1994, his sentence was overturned in 1996 due to insufficient evidence.

Adding to the surreal nature of the case, Pacciani created works of art that disturbed the people around him. “Despite being almost illiterate, he had an interesting collection of drawings, and if you see them, they give you chills…” He also wrote poems and read one about brotherhood and love to the court during his trial. “Imagine that,” Binarelli said. “You’re in front of the Supreme Court, answering for eight double murders, and you’re reciting poetry. Something … it’s off.”

Fear, Conspiracy, and Cultural Reflection

The atmosphere in Florence during the years of the murders was palpable. Locals avoided the countryside, and couples were terrified to go out at night. Conspiracy theories flourished—some claiming that Pacciani was merely a pawn for a secret society involved in ritual killings.

Binarelli elaborated, “It was a great opportunity for fictional writers and journalists – they have many conspiracy theories now.”

American crime writer Douglas Preston famously got caught up in the case while researching in Florence. His book, The Monster of Florence, helped revive international interest, including a speculative link to the Zodiac Killer. Though no solid evidence ever backed this connection, the eerie similarities between the two killers only fueled the fire.

A Lasting Legacy

Beyond the crimes, the case peeled back layers of Tuscany’s cultural identity. “You have the judges: educated Florentines on one side, and on the other, Pietro and his friends, uneducated, rude, and when they were interrogated, they exposed the truths of their places.”

He continued, “Florence is sort of the light in the dark for human civilization. It’s interesting to see this inner struggle in the person of Piaccani, he was a brutal, violent person, a beast, but a beast with creative thoughts. That made him the perfect serial killer.”

Today, the Monster of Florence case remains officially unsolved. An upcoming Netflix docuseries has reignited interest and is set to be available this coming Fall. However, Binarelli says he’s weary about its historical accuracy: “If it’s only four episodes, that’s a lot to cram. I appreciate the artistic reenactment of things, but sometimes they are inaccurate or culturally distant.”

Most of the tourists who come to Florence for its beauty, art, and history will never know the story that took place in the rolling hills above town. The legacy of Il Mostro di Firenze is a chilling reminder that even the most beautiful places can be harbors of darkness.