or the first three decades of the twentieth century, the fabled
Marchesa Luisa Casati (1881-1957) triumphed as the
brightest star in European society. Possibly the most artistically
represented woman in history after the Virgin Mary and Cleopatra,
the portraits, sculptures and photographs of her would fill a
gallery. In a quest for immortality, she had herself painted by Giovanni Boldini, Augustus John, Kees Van Dongen, Romaine Brooks and Ignacio Zuloaga; sketched by Drian,
Alberto Martini and Alastair; sculpted by Giacomo Balla, Catherine Barjansky and Jacob Epstein;
and photographed by Man Ray, Cecil Beaton and Baron Adolph de Meyer. She frightened Artur Rubinstein, angered Aleister Crowley and intimidated T.E. Lawrence. As muse to the Italian futurists F. T. Marinetti, Fortunato Depero and Umberto Boccioni, she conjured up an elaborate marionette show with music by Maurice Ravel. Accompanied by her pet boa constrictor, she checked into the Ritz Hotel in Paris, where it escaped. Considered the original female dandy, Léon Bakst, Paul Poiret, Mariano Fortuny and Erté dressed her. She adorned herself with the jewels of Lalique and directly inspired the famed 'Panther' design for Cartier. Her parties and appearances at others became legendary–at one celebration in her Venetian palazzo, Nijinsky invited Isadora Duncan to dance; Picasso attended a soirée at her Roman villa; while she costumed herself as a living artwork inspired by Dali for another. She was a subject of intrigue to Marcel Proust and the Comte Robert de Montesquiou. She whirled through Parisian nightlife, making an unforgettable impression on Colette, Elsa Schiaparelli and Coco Chanel. She was the only woman ever to astonish her lover Gabriele D'Annunzio, one of Italy's most notorious and revolutionary writers.
Nude servants gilded in gold leaf attended her. Bizarre wax mannequins sat as guests at her dining table, some of them even rumoured to contain the ashes of past lovers. She wore live snakes as jewellery and was infamous for her evening strolls, naked beneath her furs whilst parading cheetahs on diamond-studded leashes. Everywhere she went, she set trends, inspired genius and astounded even the most jaded members of the international aristocracy. Without question, the Marchesa Casati was the most scandalous woman of her day.
All the while,
Luisa journeyed wherever her fancy took her–Venice, Rome,
Paris, Capri–collecting palaces and a menagerie of exotic
animals and spending fortunes on lavish masquerades. Her personal visual aesthetic
made her a legend throughout the continent. She was tall and thin.
A thick blaze of flame-coloured hair crowned her pale, almost
cadaverously white face with its sensually vermilioned lips. Above
all, however, the Marchesa’s large green eyes cast the strongest
spell of her unique beauty. She exaggerated these further still
with immense false lashes and surrounding rings of black kohl, while droplets of poisonous belladonna made them glitter like emeralds. It’s no wonder she caused a press sensation during a
sojourn in the United States during the 1920's that featured stays in New York City and Hollywood. So intriguing was her fantastic persona, Casati also influenced playwrights and
filmmakers both during and after her lifetime. Characters based
specifically and more loosely on her came to be portrayed by Theda Bara, Tallulah Bankhead, Vivien Leigh, Valentina Cortese, Elizabeth Taylor and Ingrid Bergman. The lore of her riveting gaze even inspired famed American writers Ezra Pound, Tennessee Williams and Jack
There would be those who would accuse her of conducting
an utterly frivolous life as Europe’s most decadent hostess.
But in truth, Luisa had a passion of a much more serious nature–the
commissioning of her own immortality.
Casati achieved this by seeking out and patronizing the talents
of both experienced and novice artists. Her only requirement of
them was a daringness of vision, capable of transforming their
muse in constantly new ways. And consequently, Casati would come
to distinguish herself in a way significantly different from similarly privileged
women also rendered by the day's most important society portraitists.
For unlike them, the Marchesa remained actively involved in the
lives, minds and movements of the artists capturing her incredible
image. Many of their careers first obtained recognition through
her generous patronage, and this often included a valuable friendship
or romantic affair. Casati's tireless pursuit of the vanguard
in everything would allow her to satisfy an endless yearning for
novel experiences and fresh audiences.
a loyal patron or simply an inspirational icon to innumerable artists on more than one continent
for nearly thirty years–forever offering her considerable
wealth, influence and ideas to a legion of painters, sculptors,
photographers and fashion designers. In addition to those already mentioned, a partial list includes: Federico Beltran Masses, Jacques-Émile Blanche, Umberto Brunelleschi, Vittorio Matteo Corcos, Guiglio de Blaas, Natalia Gontcharova, Paul-César Helleu, Roberto Montenegro, Gustav Adolf Mossa, Lotte Pritzel, José Maria Sert, Prince Paul Troubetzkoy and Madeleine Vionnet.
All the while, the Marchesa established
several dreamlike homes, each designed to her exacting and high-priced
tastes. In Venice, there was the Palazzo dei Leoni on the Grand
Canal–a fabulous half-ruin, its gardens set ablaze with enormous
Chinese lanterns, where albino blackbirds trilled overhead and pet cheetahs prowled along twisting pathways below. Years later, this same building would be purchased by Peggy Guggenheim to become The Peggy Guggenheim Collection, the most important museum in Italy for European and American art of the first half of the 20th century. Just
outside of Paris lay the Palais Rose–the Marchesa's fantastic mansion
built of red marble, featuring a detached pavilion converted into
a private art gallery where Luisa housed more than one hundred
and thirty images of herself. She summered on Capri at the famous Villa San Michele where she startled even the most bohemian of the island's residents with a thoroughly non-conformist lifestyle. Even so, although the masquerade balls given and the paintings commissioned seemed endless, Luisa's fortunes were not.
1930, Casati had amassed a debt the equivalent of twenty-five million U.S. dollars.
Unable to satisfy countless creditors, her personal possessions
were confiscated and auctioned off, including numerous original
artworks of her. Today, many of these works remain untraceable or in private collections.
Casati then fled to London to lead the next two decades in markedly
less grand conditions than those enjoyed as a continental celebrity.
But even so, her indomitable spirit remained undimmed as she went
on to amaze a new set of admirers. On 1 June
1957, Luisa Casati died at 32 Beaufort Gardens, her final residence.
She was seventy-six years old. Following a requiem mass at Brompton
Oratory, the Marchesa was interred in Brompton Cemetery, with
one of her taxidermed Pekinese dogs resting at her feet. In Antony
and Cleopatra, Shakespeare evokes the lure of the unforgettable
Egyptian queen by declaring: 'Age cannot wither her, nor custom
stale her infinite variety.' This fitting tribute is inscribed
upon Casati's gravestone.
As she would
surely have desired, the Marchesa’s substantial artistic and cultural legacy continues to be recognized to this very day. Major artworks of and inspired by her continue to provide provocative centrepieces for important exhibitions worldwide. Of major relevance today is Casati's innovative fashion sense, which remains a constant resource for major and fledgling designers everywhere. These include most notably John Galliano; Karl Lagerfeld; Tom Ford; Alexander McQueen; Georgina Chapman and Keren Craig for Marchesa; and Alberta Ferretti.
From March 10-April 10, 2016, Casati was celebrated in the exhibition 'SerpentiForm' by Bulgari on serpent-inspired jewelry held at the Palazzo Braschi (Roma).
In 2004, Katrina Markoff and Vosges Haut-Chocolat first unveiled a limited-edition chocolate truffle celebrating Casati's passionate taste for the exotically decadent. Featured in the New York Times and AnOther Magazine among many others, this divine treat has sold out completely every year offered and will return in 2016. In 2011, Markoff unveiled the Black Salt Caramel Exotic Candy Bar. This confectionary tribute to Casati won the 2011 Gold Sofi Award for Chocolate given by the National Association for the Specialty Food Trade [Read about the making of these Casati-inspired confections].
At the 2014 Ashmolean Museum (Oxford University) exhibition A Bestiary of Jewels, Britain's leading artist-goldsmith Kevin Coates unveiled A Snake for Casati, a one-of-a-kind brooch constructed of precious materials. Click Here to see a short film by Nel Romano on the artist's work and the exhibition. Click Here to see A Snake for Casati and read the exhibition catalogue entry on it written by the artist.
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