Aldo Gigli · Mirano Continental联合创始人·布景设计师兼平面设计师
时尚在米拉诺的重要性
米拉诺大陆俱乐部不只是一家夜总会。在20世纪80年代，这里经常举办时装秀、模特比赛和以模特为主题的晚会，把时尚与现场表演带进了布鲁塞尔的夜生活。
在这些活动中，「Devenir Mannequin」（成为模特）大赛留在了人们的记忆里：一个习惯了DJ和聚光灯的舞台，在某个夜晚变成了公众与时尚界相遇的T台。
比利时媒体多年来一直关注这项赛事，从1992年《晚报》（Le Soir）所描述的「助推之力」，到1999年向15至30岁年轻人开放：它是在比利时乃至国际上追逐模特梦想的年轻人的跳板。
1983年，RTBF电视台由记者约瑟夫·莱夫科维奇主持，为在米拉诺举办的「Devenir Mannequin 83」大赛制作了专题报道。1989年12月12日，《嘉人》（Marie Claire）杂志在米拉诺围绕模特多米尼克·戈森斯举办了一场时装秀，卡尔·德·蒙沙林也在场见证，他将于1991年起逐步接任该场所的艺术总监。
1986年或1987年，米拉诺还举办过另一场《嘉人》时装秀，由当时还是摄影新人的米歇尔·戈德弗鲁瓦·梅丹拍摄。他回忆道：「我的朋友雷诺是New公司的模特，也是那里的调酒师，他给了我一张邀请函。我被安排在灯光师旁边的楼座上，带着独脚架、康泰时RTS 2相机和300毫米卡尔·蔡司镜头（没有自动对焦），把160 T胶卷迫冲到640 ISO。」这些在极弱光线下从楼座拍摄的照片，精准重现了那些夜晚的氛围：饱和的色彩、颗粒感、动感。
下面的相册汇集了档案中保存下来的时装秀照片：1986-87年和1989年的《嘉人》时装秀、夏尔·多尔夫伊1983年秋冬发布会，以及20世纪80年代的T台影像，从科幻布景到金色亮片织物。
相册：米拉诺大陆俱乐部的时装秀，20世纪80年代。照片 © 奥利维耶·埃纳贝尔、© 马克·史蒂文斯、© 米歇尔·戈德弗鲁瓦·梅丹，部分署名：DR。点击照片即可浏览相册。
报告转录内容
RTBF news presenter: Another segment offered by our colleagues at RTBF Brussels. A contest whose theme is “Becoming a model”. You be the judge.
Joseph Lewkowicz: The other evening, at the Mirano in Brussels, the suspense could be read on the faces. Twelve boys and twelve girls were taking part in the “Devenir Mannequin” contest.
Make-up artist: Everyone is here. Everyone is here.
Show manager: At the end of the show, Robert Malengreau, the presenter, will call you one by one by your names and you will go and introduce yourselves.
Robert Malengreau: “Devenir Mannequin”? It means wanting to play the game. Wanting to do something that sometimes seems impossible, that often seems impossible in Belgium.
Joseph Lewkowicz: Why does that seem impossible in Belgium?
Robert Malengreau: No, back in 69, when we created this, when I talked about it to the agencies (at the time there was one modelling agency) and when they talked to me about it, they talked about it as a dream. I mean: going to New York, Paris… Models in Belgium simply did not exist. And I was convinced that in Belgium there were absolutely very pretty girls, very handsome guys who wanted to do this job.
Joseph Lewkowicz: Dominique Fache, what is at stake in this “Devenir Mannequin 83” contest?
Dominique Fache: It is a challenge we are throwing at public opinion, because in Belgium this profession is absolutely not recognised as a valuable one at the moment.
Joseph Lewkowicz: You run a modelling agency. Do houses like yours hire these young people afterwards, when they win contests like this?
Dominique Fache: Absolutely. The people we are going to try to make win tonight are guaranteed a career. It will also depend on them. A theoretically international career.
Joseph Lewkowicz: So, what is a model to you?
Dominique Fache: A model is not only 50% looks, it is also 50% mindset.
Joseph Lewkowicz: Do you believe it is a profession with a future in Belgium or even elsewhere?
Robert Malengreau: There is more and more future everywhere. Because in this profession, new faces are needed all the time. People need to be renewed all the time. It is terrible too. It is quite a terrifying law, the law of this profession. But it is there, there is nothing to be done about it.
报告转录内容
Dominique Goossens: Frank, could you bring me a chocolate, anything, something to eat when I'm starving? Yes, I know. If the make-up is beautiful, and he does it as usual, that's already very good; I'll already feel in great shape to begin. It's very important. Today is really the summit in Brussels. It's the event to see. It's the event to live.
Dominique Goossens: It's also the event to do for a model tonight.
Dominique Goossens: Do I like all the clothes I wear? In general, yes, but it's not always the truth, but that's not our problem. That's not what we should think about. You have to know, even if we don't like them, the sine qua non is to wear it well and above all to sell it. That's why we're here.
Dominique Goossens: The accessory is what makes the outfit. It's essential. The accessory, I mean a simple black dress. It can be very beautiful, but it will be much more beautiful if the hat you wear it with is adequate.
Etienne Russo, from the Mirano to Villa Eugénie
One name cannot be left unspoken at the end of this chapter: Etienne Russo. Artistic director of the Mirano before Carl De Moncharline, who would gradually succeed him from 1991, he directed the fashion shows and ran the Smirnoff Fashion Award, whose finals were held in the former cinema on the chaussée de Louvain. For him, fashion was never one activity among many: it was his natural ground, and the club offered it to him as a laboratory.
正是在阿尔多·吉利身边，艾蒂安·鲁索见证了自己最初那些宏大布景的诞生。其中一个夜晚尤其具有代表性：1992年6月25日的「深渊」，由阿尔多构思的海底布景席卷整个俱乐部，「大鲸鱼」则被改造成酒吧。如今重新发现的海报由帕特里克·根纳罗·阿韦拉署名，并非阿尔多·吉利的作品。由于布景本身似乎没有照片留存，这张海报成为那个世界珍贵的视觉见证。多年以后，再看维拉·欧仁妮一场大型时装秀中展开的海底景观，不禁令人会心一笑：这个梦早已在米拉诺的某个夜晚实现过。
When Etienne Russo left the Mirano to fly on his own, the career that followed became unique in the world: Villa Eugénie, the first Dries Van Noten show in Paris in 1991, then hundreds of productions for Chanel, Hermès, Louis Vuitton, Dior Homme, Moncler and so many others. But something was born here, in this place where Aldo Gigli knew how to turn a drawing sheet into party architecture: it is no exaggeration to say that the Mirano allowed his first dreams to hatch.
Carl De Moncharline also inherited from Etienne Russo a standard that never left him: a perfectionism pushed beyond perfection, a care for detail down to the invisible. It is a line Carl tried to hold throughout his career, in another register, large-scale public events, but with the same conviction: the care given to what the audience will never notice is precisely what gives an evening its greatness.