Everyone has met that Spritz. The one poured with great confidence and no measuring whatsoever, somewhere around the third round of a summer evening, when the host has stopped counting and started improvising. It arrives a suspicious shade of deep orange and tastes like a dare. The Spritz looks like the easiest drink in the world, three ingredients over ice, and yet it slips out of balance the moment nobody is paying attention.

This, apparently, was a problem worth solving. In Treviso, in the corner of the Veneto that considers the Spritz something close to local heritage, a small company built a machine to defend it. They called it Sprizzer, and the idea is almost comically straightforward: a lever-operated dispenser that pours a correctly balanced Spritz straight into the glass. Three parts Prosecco, two parts bitter, one part soda, the sacred 3-2-1, every single time, with no room for a heavy hand.

The charm of it is how stubbornly analogue the whole thing is. No electricity, no batteries, no app to update at the worst possible moment. Just three tanks, some tubes, and a cam mechanism doing patient mechanical work. Even the origin story is endearingly homemade: the very first prototype, the company cheerfully admits, used spaghetti holders for tanks. A device invented to protect the dignity of the aperitivo, built out of pasta containers, is about as Italian as an object can get.

In practice it is refreshingly undemanding. You fill the three chambers, put it on the table, and let people help themselves. They lower the lever, the drink comes out already measured, and that is the end of anyone’s responsibilities. A single fill covers roughly eighteen to twenty glasses, which is either a long, easy evening or a short, enthusiastic one, depending entirely on the crowd.

It is fair to raise an eyebrow. Does anyone truly need a dedicated machine for a drink you could, in theory, assemble with a bottle and a steady hand? Of course not. But then, nobody strictly needs a moka pot or a pizza oven either, and Italian kitchens are full of beautiful, faintly unnecessary objects that exist mostly to make a small ritual feel like an event. Sprizzer belongs to exactly that family.

Which is really where its appeal lives. What it sells is not a cleverer cocktail but the ease of the aperitivo itself, the ice, the orange glow, the friends taking turns at the lever. Give it a table and it turns a balcony or a garden into something that briefly resembles a piazza. The Spritz was always more about the company than the recipe, after all. It just happens to be pleasant, once in a while, to get the recipe right too.

The post Three parts Prosecco, two parts bitter, and one very Italian idea appeared first on Good Morning Italy.

There is a particular kind of silence that falls over a dinner party when someone announces they will “make everyone a Spritz.” It is the silence of six people quietly recalculating their evening. Because we all know how this goes. The first glass is perfect. The second is a little heavy on the Aperol. By the fourth, the host has abandoned proportions entirely and is pouring glasses that get more orange, and more generous, by the round. The Spritz, that sunny symbol of the Italian aperitivo, has a dark secret: it is astonishingly easy to get wrong.

Somewhere in Treviso, in the Veneto region where the Spritz was more or less born, a few people decided this was unacceptable. Their answer was Sprizzer, a small mechanical dispenser that pours a properly balanced Spritz straight into the glass when you pull a lever. Three parts Prosecco, two parts bitter, one part soda. The famous 3-2-1. No jiggers, no guesswork, no uncle insisting his recipe is better.

What makes the whole thing quietly charming is how gloriously low-tech it is. No electricity. No batteries. No app, thank goodness. Just tanks, tubes and a cam system doing honest mechanical work. The origin story is even better: the first prototype, the company happily admits, used spaghetti holders as tanks. There is something deeply Italian about inventing a device to protect the sanctity of the aperitivo and building the first one out of pasta containers.

The way it works is simple. You fill the three chambers, you set it on the table, and you let guests serve themselves. They pull the lever and get a Spritz that is already properly measured, without having to ask anyone. One fill makes around eighteen to twenty glasses, which, depending on the company, can mean a whole evening or a little more than an hour.

Of course, a healthy dose of skepticism is fair. Do you need a dedicated machine to make a drink that is, by design, three ingredients poured over ice? Absolutely not. You also do not need a moka pot, a pizza oven, or half the beautiful, slightly unnecessary objects that make Italian domestic life what it is. That has never been the point. The point is the ritual, the little ceremony that says the evening has officially begun.

And that is perhaps the point of Sprizzer. More than a better cocktail, what it makes easy is the aperitivo moment itself, the ice in the glass, the orange colour, friends passing the lever around. All it takes is a table, and it turns a balcony or a garden into something that feels a little like a piazza. Because the Spritz, in the end, has always been more about the company than the recipe. Though it is nice, every now and then, to get the recipe right too.

The post The little lever that turns any backyard into an Italian piazza appeared first on Good Morning Italy.

The CEO of Comexposium US on what makes Curve the leading B2B marketplace for intimate apparel and swimwear in North America, and why Italian brands keep finding an audience there

Raphael Camp is CEO of Comexposium US, the company behind Curve, the trade show for the intimate apparel and swimwear industry that runs every season at the Javits Center. We spoke with him ahead of the New York edition, which opened August 2 and runs through August 4.

For those who might not be familiar with it yet, what is Curve, and why does it matter so much to the intimates industry?

Curve is the leading B2B marketplace for the intimate apparel and swimwear industry in North America. Every season, it brings together brands, buyers, retailers, media, and industry leaders to do business, launch new collections, strengthen partnerships, and identify emerging opportunities in the market.

What makes Curve so important is that it brings every part of the industry together in one place. Buyers are looking for new brands, brands are looking to expand their retail footprint, and everyone is looking for insights into where the market is headed. Curve creates the environment where those conversations turn into real business.

Curve has become known as the premier destination for the intimates industry. What does it feel like to watch it grow into that role year after year?

It’s extremely rewarding, because our success is measured by the success of the businesses that participate in the event. Every season we see brands launching new collections, opening new retail accounts, expanding into new markets, and building relationships that continue long after the show ends.

We’ve also seen Curve grow alongside the industry itself. As consumer expectations evolve and retail continues to change, we’ve expanded the event to include more education, more networking opportunities, and more platforms for brand discovery. Our goal has always been to create an event that delivers real business value, and that’s something we’re constantly working to strengthen.

If you had to describe the energy of Curve New York in just a few words, what would they be?

I’d describe it as dynamic, productive, and forward-looking. There’s an incredible amount of business happening throughout the event: buyers are discovering new collections, retailers are meeting with both established and emerging brands, and conversations are focused on what’s next for the industry. There’s a genuine sense of momentum, because everyone is there with a shared goal of growing their business and preparing for the seasons ahead.

What role does Curve play in helping smaller or emerging lingerie brands find their audience?

Supporting emerging brands is an important part of Curve’s mission, because today’s emerging designers are tomorrow’s established brands. Programs like Object of Desire were created to give those businesses greater visibility, by introducing them directly to retailers, buyers, media, and industry decision-makers who are actively looking for new products and fresh perspectives. Beyond the showcase itself, Curve gives these brands access to buyers they may not otherwise have the opportunity to meet, helping them build relationships, open new accounts, and accelerate their growth.

For many young brands, one successful show can significantly change the trajectory of their business, and we’re proud to provide a platform that helps make those connections possible.

Curve brings together brands from all over the world. How do you see international, and especially Italian, lingerie brands fitting into that global picture?

International brands are essential to the Curve experience, because they bring innovation, craftsmanship, and new perspectives to the North American market. Buyers today are looking for differentiated products, and international brands play a significant role in meeting that demand.

Italian brands, in particular, have built a global reputation for exceptional quality, technical expertise, and premium design. They consistently attract strong interest from North American retailers looking to offer their customers distinctive products with a clear point of difference.

One of Curve’s greatest strengths is its ability to connect those international brands with the right buyers. We provide a platform where brands can expand their presence in North America, develop new retail partnerships, and position themselves for long-term growth in one of the world’s most important markets.

Looking ahead, what’s your dream vision for where Curve could go in the next five years?

Our focus is on continuing to grow Curve as the industry’s most valuable business platform. That means expanding opportunities for brands and buyers to connect, investing in educational programming that addresses the challenges facing today’s retail landscape, and creating more ways for our community to engage with Curve throughout the year, whether that’s through content, digital initiatives, or new international partnerships. Our objective is to deliver value well beyond the three days of the event.

Ultimately, we want Curve to remain the first place brands think of when they’re looking to grow their business, and the first place buyers come to discover what’s next.

The post Raphael Camp: Curve New York Is Where Emerging Brands Meet the Buyers Who Can Change Their Business appeared first on Good Morning Italy.

Dorothy Belshaw is CEO and co-founder of Rockview Management Group, which acquired NY NOW from Emerald Holding in April. She has spent 33 years in the gift industry, including eight as show director of NY NOW before moving to IMC. We met with her at the Javits Center during the fair.

This is the first Summer Show under RMG’s new ownership. What will visitors who’ve attended NY NOW before find different this time?

Attendance is strong. It’s up a little from a year ago, although we’ll have to see how the show finishes. So far, everyone seems happy with the turnout and, most importantly, with the business they’re writing.

Visitors will also notice that the branding has changed. It’s a little bolder and, we think, more reflective of New York and the region. We’ve also re-merchandised the floor plan to make it tighter and easier for buyers to navigate, with category adjacencies that make more sense.

A number of exhibitors have returned after being away for several years, and we have more than 70 new exhibitors, so there’s a lot for buyers to discover. We want people to be able to come here and do business with the vendors they already know and depend on, while also walking the floor and finding something they weren’t expecting. That balance is really important to us.

Your site talks about “intentional curation,” a balance between scale and intimacy. How do you maintain that balance when selecting exhibitors?

We’re only three months in, so we’re really just getting started, but our strategy going into 2027 is to bring back the anchor companies across each of the primary gift categories.

There are about ten major gift categories in the United States, and we want to make sure we have the best resources in each of them while continuing to introduce new ones. Buyers need to be able to do business with the vendors they already know while still discovering new products and companies.

A lot of that comes down to listening. We talk to buyers and vendors all the time about what they think is missing and who they want to see at the show, and we have a team with a tremendous amount of industry experience to help us act on that feedback. Every member of our sales team has at least ten years in the gift and home industry, so they know the buyers and they understand the market. That knowledge, combined with those longstanding relationships, is incredibly valuable as we rebuild the show.

The show covers gift & lifestyle, jewelry & accessories, and home. Which of these categories is seeing the most interesting growth right now, and why?

Gift and lifestyle is still our largest category today, but based on the demand and outreach we’ve already had, we expect to see significant growth in Home in 2027.

We’re also expecting handcrafted and artisanal products to grow dramatically this winter, both from the U.S. and internationally. New York has always been a very strong market for handmade, and it was historically a really important part of NY NOW. We’ve heard from buyers and vendors alike that they want it back, so that’s something we’re very focused on rebuilding.

The third area is stationery. At the Winter Show, we’ll be partnering with the Greeting Card Association, which we expect will bring significant growth in cards, paper, and everything connected to that industry.

What kind of buyers are you expecting this year: big retail chains, independent boutiques, or a mix? And how do you help them navigate hundreds of brands?

It’s a mix. Based on pre-registration, we know we’ll see larger buyers like TJX and some of the bigger specialty chains like Anthropologie, but the majority of our buyer base is independent specialty retail, particularly independent gift stores.

We also have a very strong museum store community, with most of the major museum stores in the region attending, as well as a number of interior designers looking for decorative items for their projects.

That mix has always been part of what makes NY NOW interesting. Buyers can come in knowing exactly who they need to see, but there’s also an opportunity to walk the floor, experience a product in person, talk to the person behind it and find something they didn’t know they were looking for. You can’t always replicate that kind of discovery online.

Looking ahead to the next Winter and Summer Markets, what are your short-term expansion plans, and what can we expect from the next winter edition?

Our plan for the Winter Show is to grow at least 50 percent from where we are today, possibly more, which would probably mean adding another 200 vendors.

We’ll be co-locating with the Greeting Card Association, which we’re announcing tomorrow, and launching a Handmade Division. We’re also very focused on rebuilding the home category in 2027, from decorative accessories to tabletop and housewares. That includes everything from fine china and kitchenware to table linens and other kitchen textiles, all of which have historically been strong categories for the New York market.

As we bring those vendors in, we’ll work with them to understand who their target buyers are and make sure we’re reaching those buyers as well. For us, it’s not about growth simply for the sake of growth. We want to rebuild the categories buyers are asking for and make NY NOW a place where they can accomplish a meaningful amount of their buying in one trip. If we can give them the brands they already rely on, introduce them to new resources and make the whole experience easier, then we’re doing our job.

What makes Rockview Management Group different from other trade show organizers in the industry?

I think what’s unusual about us is that we’re a small, privately owned, independent show organizer. That’s fairly unique right now, as most of the other trade show organizers in this industry are large corporations or owned by private equity.

That independence gives us a lot of flexibility. We’re nimble, we can make decisions quickly and we can stay very close to our customers. When buyers and exhibitors tell us what they need, we can listen and respond without having to make decisions based on what’s best for the next quarterly report. Instead, we can focus on what we believe is best for the show and the industry it serves.

The other piece is community, because this is a very relationship-driven industry. A lot of the exhibitors and buyers here today have already commented that the show feels different. There’s a warmth to it. It feels friendly and more like a partnership.

That’s incredibly gratifying because it’s exactly what we want. NY NOW should obviously be a place where people come to do business, but we also want it to be somewhere people genuinely want to be – where they see people they know, meet people they don’t, and build relationships that continue long after the show is over.

The post Dorothy Belshaw: NY NOW Is Growing Again, One Step at a Time appeared first on Good Morning Italy.

On the occasion of the partnership as Official Sponsor of the Macerata Opera Festival, ERNESI 1978 is pleased to present an event dedicated to great music and the talent of Marche.

On Friday, August 7, from 7:45 pm, the corner ERNESI 1978 in Piazza Mazzini ( adjacent to the historic Arena Sferisterio) will frame “Serata Lirica”, a moment designed to accompany the audience in the atmosphere of the Festival before the beginning of the evening show.

The event will see the live performance of two young excellences of the musical panorama:

● Maria Olimpia Renna, Soprano: Winner of the National Art Prize and awarded in prestigious international competitions. Formed at the Pesaro Conservatory, he perfected his technique in a masterclass with Diana Damrau. It has already important debuts, like that at the Pergolesi Theatre, and collaborations with the Teatro Regio di Parma.

● Davide Massacci, Pianist and Master Collaborator: Virtuous piano with a career full of awards in national and international competitions. He specializes with world-renowned masters such as Elisso Virsaladze and Boris Berman at the renowned Academies of Fiesole and Stradella.

“Our concept of beauty has always been a dialogue with art and culture” – says Elena Pollastrelli, Communication Lead of ERNESI 1978 – “And it is precisely from this vision that our partnership with the Macerata Opera Festival is born. As a laboratory of pharmaceutical cosmetics rooted in the territory since 1978, we are proud to offer fans a moment of great music, celebrating the talent and opera tradition a stone’s throw from the Sferisterio”.

The post On August 7, ERNESI 1978 celebrates opera in Macerata: an exclusive performance with soprano Maria Olimpia Renna and pianist Davide Massacci appeared first on Good Morning Italy.

The new summer edition of NY NOW is taking place from August 2 to 4 at the Javits Center, the wholesale trade show for the gift, home and lifestyle industry that has been held in New York for over a century. Through August 4 the convention center fills up with booths, color and the season’s new arrivals: it is the first edition organized under the show’s new ownership, Rockview Management Group, which acquired the event in April from Emerald Holding, the publicly traded company that had run it for years alongside another 140 trade shows across the United States.

Rockview is led by three names well known inside the industry: Dorothy Belshaw, who spent eight years as show director of NY NOW before moving to IMC, William Lacey, with thirty years of experience in finance and mergers and acquisitions, and Karen Olson, who brings nearly thirty years of work on brand transformation and growth strategy in the gift and home sector. In the welcome letter printed in the show guide, the three write that they came in “with deep respect for what this Show has meant to the industry, and a clear sense of where it can go.” They also recall the origins of the event: it was founded in 1924 by George F. Little as the New York Gift Show, to help regional retailers source product from manufacturers and importers from around the world. A lot has changed in a century, they write, but the needs of retailers remain the same: find product that will surprise and delight, drive sales, and build customer loyalty.

The letter dwells above all on the nature of the new ownership: a small, privately held company with no external shareholders to answer to besides the exhibitors and buyers themselves. Several members of the team, they write, had already worked on the Show in various capacities fifteen years ago, and so know the industry’s needs firsthand. The three describe the changes ahead as “thoughtful and intentional,” since, as they put it, the best transformations don’t happen overnight.

At this August edition, visitors find refreshed branding, a mix of new and returning exhibitors, and a more energized floor plan. The bigger changes, however, are set for the Winter Show, January 31 to February 2: a new juried division for makers and designers, more brands and best-selling lines across the major gift and lifestyle categories, and the return of home collections. The Show, they write, gets stronger every six months.

In the letter, the three founders speak directly to exhibitors, urging them to support the vendors they already work with, share their new introductions, seek out a new resource or two, and talk to other retailers about what’s working. “Be part of the community that will drive your success,” they write, adding that they are listening and want to know what visitors would like to see next.

In terms of numbers, this August edition brings to the Javits Center more than 90 brands from 19 countries, with three curated national pavilions guiding buyers through handcrafted jewelry from Brazil, artisan ceramics from Sicily, and beadwork from South Africa. This year Italy is represented at the fair only by Sicily, with a pavilion of 15 companies spanning gift, lifestyle, jewelry and accessories: we hope that at the next edition, in line with the growth the new ownership has promised, other Italian regions will take part as well.

The post The Javits Center Hosts the New Edition of NY NOW, the Gift and Home Fair Under New Ownership appeared first on Good Morning Italy.

Behind the counter of the Old Fashion Cafe, in the SoHo neighborhood, lies the story of a family that brought its idea of hospitality from Puglia to New York. Antonello Iacca grew up among the tables of the Old Fashion in Taranto, the bar his parents and his uncle opened in 1998, and today, together with his brothers, he has recreated that spirit in Manhattan. We met him to hear what the Italian-style aperitivo means to him.

The story of the Old Fashion Cafe begins in Taranto in 1998, with the bar your parents and your uncle opened. What did growing up behind that counter leave you with, and what part of that family story did you bring to New York?

Growing up behind that counter taught me that a bar isn’t just a place where drinks are served, but a place where relationships are built. I watched my parents and my uncle know every customer by name, remember their tastes and always make them feel at home. It’s this philosophy that I brought with me to New York, the Italian hospitality made of attention, warmth and authenticity. And, for me, the finest achievement was being able to bring my brothers to America and share this dream with them. The Old Fashion Cafe isn’t just a business project, it’s a family project. Seeing them by my side every day and building together something that comes from our roots is the greatest satisfaction I could have wished for.

It’s said that your family helped create the modern culture of the Italian cocktail. What do you mean by the Italian-style aperitivo, and how did you bring it inside the Old Fashion Cafe?

For us the Italian-style aperitivo is first of all a moment of sharing. The cocktail is important, but it’s only one part of the experience. It’s the essence of the sweet idleness, the dolce far niente, taking a break, setting aside your commitments and living in the moment. This is the philosophy we brought to the Old Fashion Cafe. We want every guest to feel as if they were in an Italian piazza, with a good drink, something to share and the right company. More than serving cocktails, we try to bring a way of life to the table, the authentic spirit of the Italian aperitivo.

You arrived in New York in 2016 and worked behind other counters before opening your own place. What did you learn in those years, and what made you say “now is the time to open my own place”?

The most important experience was without a doubt the one behind the counter at Ulivo, a place where Italian identity isn’t just a concept, but is lived every day. There I understood how Americans see Italy and how much they appreciate two values that for us come naturally, hospitality and quality. After those years I felt the time had come to take a step further. With the Old Fashion Cafe I wanted to bring across the ocean not only our idea of the aperitivo, but above all the sense of family that has always defined the Old Fashion in Taranto, in Puglia. I wanted to create a place where people wouldn’t simply come to have a cocktail, but would feel welcomed as guests in our home.

You’re considered one of the great aperitivo experts in New York. Is there a cocktail on your menu, perhaps tied to your Italian memories, that you’re especially fond of and that tells the soul of the place?

Definitely the Negroni Sbiancato. It’s the cocktail that most represents our philosophy, and it was included among the hundred most important aperitifs in the world, a recognition that makes us very proud. For me it stands for class, elegance and balance, it draws inspiration from the great Italian tradition but interprets it in a contemporary way. It’s a drink that perfectly tells the soul of the Old Fashion Cafe, the respect for our roots, the attention to quality and the desire to offer an experience that stays in the memory. In the end that’s what we try to do every day, to bring a piece of Italy to New York, one aperitivo at a time.

Looking ahead, what do you want the Old Fashion Cafe to become for New York and for the Italians who live here?

I’d like it to become a point of reference. A place where Italians can feel a little at home and where Americans can have an authentic experience of our culture. Our goal is to keep making Italian hospitality known through good drinking, good food and an atmosphere that makes you want to come back. The United States is a country that rewards those who know how to innovate without forgetting their roots, and I believe it’s precisely from the meeting between Italian tradition and an international vision that the best ideas can be born.

The post Antonello Iacca and the Old Fashion Cafe, a piece of Puglia in the heart of New York appeared first on Good Morning Italy.

Aboard the Amerigo Vespucci, during its stop in New York, a Vespa event was also held, a meeting between two symbols of Made in Italy, the Italian Navy’s training ship and the most famous scooter in the world. The event marked the debut of a one-off model of the iconic scooter, dedicated to the training ship itself. On this unique Vespa, the glossy black body is crossed by two large white bands recalling the Vespucci’s hull, with graphic details inspired by its portholes, ochre finishes echoing the bulwarks and the bowsprit, and a seat upholstered in Olona canvas, the same fabric used for the ship’s sails. From here we set off for a conversation with Andrea Gucciardi, President and CEO of Piaggio Group Americas, the subsidiary that brings the Piaggio, Vespa, Aprilia and Moto Guzzi brands across the ocean, about the group’s future in the United States.

Leading Piaggio Group Americas is a manager who grew up in the world of engines and is, first of all, a passionate enthusiast. Gucciardi told us about his idea of business, the value of representing Italian excellence in New York, and the strategy with which Piaggio is looking at the years ahead on the American market.

Let’s start with you. What was the path that led you to lead Piaggio Group Americas, and what were the decisive moments of your career?

I’ve spent my entire career in an industry I’m first of all deeply passionate about, working both in four wheels and in two wheels. And I’ve had the good fortune to experience it from both sides, from the manufacturer’s side, so wholesale, and from the retail side. Two things have always guided the way I work, the customer and the processes. I firmly believe that a company, in order to function and grow, needs clear, solid and measurable processes, but at the same time I believe you can’t build an effective process without looking at it from the customer’s perspective. The question I often ask my teams is very simple, when you go to buy a product you truly love, how would you like to be treated? That is the experience you have to offer your customers. A decisive moment for me was when I led BMW’s retail branch in Rome. I moved my office from the back office directly into the showroom, into a glass office from which I could see customers coming in and talk to them. That’s where I understood even more clearly that you can’t run a business shut away behind a desk, you have to get out, be on the ground, among people. I believe it’s the only way to truly understand the market and succeed. Whenever I had the recordings of customer satisfaction interviews available, I always dedicated at least two hours a week to listening to them directly, and I asked my teams to do the same. By listening to the customer’s voice you understand where you’re going wrong and what you need to change, but also what you’re doing well and how you can maximize it.

What responsibility do you feel in representing a group that is a symbol of Made in Italy in the United States?

It’s first of all a great source of pride. Representing an Italian group in the United States gives me the opportunity to be, in some way, an amplifier of Italian culture, passion and spirit in a market where Made in Italy is recognized as excellence and holds extraordinary value. It’s a message I try to convey to our network as well. When I talk to dealers, I always remind them that we’re not simply selling a product, we represent Italian excellence and we operate in the high, premium end of the market. This spirit is already very present in our network, but my role is also to emphasize it and make it even stronger. For me, then, representing Made in Italy is certainly a responsibility, but above all a huge plus, and I try to make the most of its strength, turning the values and the culture we represent into a concrete element of our communication and our positioning in the market.

Piaggio is a group with very different brands and a long tradition. What is your vision for Piaggio Group Americas over the next five years?

My vision for the next five years starts from a very simple goal, being closer and closer to the customer. We are mainly a commercial organization and our role is to bring our brands and our products to the market, building the best possible experience for the customer. When I arrived in the United States, last year, one of the first things I noticed was that our network wasn’t widespread enough, and in our industry closeness to the customer is fundamental. If you buy a motorcycle or a scooter and then you have to drive hundreds of miles to find a dealer or get a service, you’re not offering a positive experience, you’re creating a problem for the customer. That’s why we’re investing in the sustainable development of our network and, at the same time, in after-sales, which we’ve strengthened not only in the United States but also in Latin America, where we’ve introduced dedicated resources that didn’t exist before. The third element is training. I believe a great deal in the training of the people who work in our dealerships, and we’re working to use digital technologies and artificial intelligence to develop new training paths for the network. Because, in the end, we don’t talk directly to the customer every day, we speak to the customer above all through our dealers. My vision is to build a network that is more widespread, better prepared and able to offer an ever better experience.

In recent years you’ve invested to strengthen Piaggio’s presence in the United States. Which results make you most proud, and what are the main challenges that remain open?

Starting precisely from the central role of the dealers, one of the results I’m most proud of is the change in the quality of the relationship with our network. We want dealers who are satisfied, profitable and able to convey to customers the values and the passion of our brands, and I believe the best way to build this kind of relationship is to talk to them and, above all, to listen to them. That’s why, over the past year, we’ve hugely intensified the moments of contact with the network. In Anaheim, during AIMExpo, I personally met around fifty dealers in three days, dedicating real time to them in one-to-one meetings. Then COTA, the product training in Sardinia, Vespa’s eightieth anniversary in Rome and, in the coming months, the big Moto Guzzi event in Mandello del Lario and EICMA. They are very different occasions, but they all share one common goal, increasing engagement, sharing the vision of our brands and building a stronger relationship with the dealers. Because if the network understands and embraces the brand’s vision, then you can succeed. The results are coming, we’re increasing the reach of the network and improving the quality of the relationship with our dealers, and this translates into a better experience for the customer and, so far, also into growth in our sales and our market share. Of course many challenges remain, and there are external factors, from the market to tariffs, that we can’t control. My approach is simple, focus energy on what I can control and try to have the greatest impact on what I can influence. As for the rest, you have to be able to adapt quickly.

Are there new projects, investments or initiatives you’re focusing on particularly in the United States, and that you believe will be decisive for the future of Piaggio Group Americas?

I see three major directions, tied to three of our brands. The first is Vespa. We’ve already begun a path of evolution and repositioning of the brand, moving more and more beyond the concept of simple mobility. Vespa is style, elegance, Italian culture, and we want to further strengthen its positioning as a premium brand, bringing it closer and closer to the world of fashion and lifestyle. It’s a path we’re investing a lot in, in the United States. And we also have a few surprises in store. In New York, for example, toward the end of 2027 we’ll have to change our offices, and I’d like our new home not to be simply an office on the ninth floor, but something that brings us physically closer to our customers. For now, though, I can’t say much more. The second direction is Aprilia. The results we’re achieving in MotoGP, the fruit of a significant investment by the Group, are giving the brand extraordinary energy and are also translating into strong commercial momentum. In the United States we want to consolidate and accelerate this growth, further strengthening Aprilia’s sporting positioning. And then there’s Moto Guzzi, a brand in which I believe there’s enormous potential for the American market. The Group has invested a great deal in the renovation of the historic Mandello del Lario plant. It’s not simply a new factory, with very high levels of digitalization, robotics and new technologies, we want it to become a true center of customer experience, a place where the customer can understand and feel the heart that beats inside Moto Guzzi. The new museum, the brand’s history and the Mandello experience represent something that very few manufacturers in the world can offer. And from Mandello new Moto Guzzi models will also arrive, starting next year, on which we have great expectations for the American market. If I had to sum it up, the evolution of Vespa toward a space increasingly tied to style, elegance and lifestyle, the consolidation of Aprilia as a great sporting brand, also through the strength of MotoGP, and a strong relaunch of Moto Guzzi, starting from Mandello, from its history and from the new products that will arrive. Three different brands, three different strategies, but all with enormous potential in the United States.

The post Andrea Gucciardi and Piaggio Group Americas, the Made in Italy and the dolce vita riding on two wheels appeared first on Good Morning Italy.

Founded in Brooklyn during the pandemic, “La Trafila” has become, in just a few years, a recognized name in the artisanal fresh pasta industry in the United States. Behind the project is Luigi Speranza, a chef and entrepreneur from Naples who arrived in New York in 2017 with one goal in mind: to challenge himself in one of the most competitive city in the world.

Let’s start with an inevitable question: what is the one dish you could never get tired of eating, even if you made it every day?

Spaghetti al pomodoro, without a doubt. To me, it represents Italy, the Mediterranean, and my roots. There is the white of the pasta, the red of the tomato, and the green of the basil. It seems like a simple dish, but that is exactly why it is difficult to do well. When you have only a few ingredients, there is nowhere to hide. Every single one of them has to be excellent. And it is a dish you can eat all year round, in summer and in winter. It is a classic that never gets old.

When did you realize that cooking would be your path?

The truth is that this passion has always been part of me. My mother passed it on to me when I was very young. I was born with a curiosity about food. I asked questions about everything and wanted to understand why things were done a certain way. I often say that one of the greatest blessings in my life was being born in Naples. The other was being born with this passion. Some things you learn, others are already inside you from the very beginning.

What is your earliest memory connected to cooking?

Sunday mornings. I was four or five years old and would wake up early just to stay close to my mother while she cooked. I would ask her why meatballs were made a certain way, why they were round, why they were fried before being added to the sauce. Looking back, it is funny. Instead of wondering why a soccer ball was round, I was wondering about meatballs. Maybe that was already a pretty clear sign of what my future would be.

Before becoming an entrepreneur in New York, you worked in Italy, across Europe, and in the United States. What do you remember about that period?

When I arrived in New York in 2017, La Trafila did not exist yet. I worked as a corporate chef for a company that operated a fresh pasta concept.

It was a very important period because it allowed me to understand the American market from the inside. I continued in that role until early 2020. Then, one month before the pandemic, I decided to leave that professional path. Shortly afterward, La Trafila was born.

What dream, or what idea, brought you to New York in 2017?

The desire to challenge myself. New York is a city that constantly forces you to measure yourself against your own limits. It does not give you breaks and it does not allow you to become complacent. I arrived with my experience, my training, and the conviction that hard work and determination eventually make the difference.

How difficult is it to build a career in a city like New York?

It takes determination, but above all humility. It is a city where you never feel like you have truly arrived. In fact, the moment you think you have, New York changes the rules of the game. I see it this way: you do not impose your conditions on the city. The city imposes its conditions on you. You need the energy and the ability to adapt continuously. It is a constant challenge, but that is also what makes it unique.

What was the insight that led to the creation of La Trafila?

It came from a combination of necessity and vision. During the pandemic, many restaurants were closing or operating under enormous difficulties. There was strong economic and professional pressure, but at the same time there was a need to keep moving forward. I decided to put everything I had learned over the years on the line and bet on fresh pasta. Not because fresh pasta did not already exist, but because I felt there was room for a different approach: greater attention to ingredients, respect for tradition, and a very wide range of products.

Why did you decide to focus specifically on fresh pasta?

Because it is a product with almost endless possibilities. We do not make just a classic tagliatella. We produce dozens of variations, from spinach pasta to squid ink pasta and even smoked preparations. I like to compare it to a painter. If you give a painter only one color, there is not much they can do. If you give them twenty colors, they can create a much richer work of art. We wanted to give chefs that same creative freedom.

La Trafila was born during the pandemic. How much did that period shape the project?

It shaped it tremendously. The pandemic was a tragedy that changed the world, bringing pain and enormous consequences. But it also deeply changed the restaurant industry. Many restaurants, even after reopening, were operating under significant limitations. They needed products that could speed up service without sacrificing quality. Fresh pasta was a perfect answer to that need. In that context, many customers discovered the potential of a product they had previously viewed in a more limited way. We were ready to recognize and respond to that shift.

Was there a particularly difficult moment you had to face?

The truth is that difficult moments never really end. They change form, but they are always there. In the beginning, I tended to blame myself for every problem. Over time, I realized that obstacles are simply part of the journey. Today, I try to see them as lessons. Every problem already contains a solution. The challenge is finding it. Once you do, you have taken a step forward. That is how we have grown over the years.

What are the biggest challenges for an artisanal producer today?

The most important one is maintaining the same level of quality over time. As you grow, the risk is losing the artisanal character that made you recognizable in the first place. We want to avoid that. We want customers who chose us six years ago to find the same attention and care today. Then there is another huge challenge: building a team and keeping it motivated. Finding talented people is difficult. Convincing them to stay and grow with you is even harder.

Looking ahead, where do you see La Trafila in five years?

Today, it is difficult to make long-term plans. The world changes quickly, and you have to remain flexible. What I can say is that we want to continue growing across the United States. Today we reach approximately 15% of U.S. states, and demand continues to increase. One project we are currently working on is expanding our facility, with the goal of increasing production capacity by 50%. It is a significant investment that will prepare us for the next stage of growth.

Is there a goal you have not yet achieved that you would like to accomplish in the coming years?

More than a single milestone, my goal is to keep expanding the business without losing our identity. I want a restaurant in California to receive our pasta with the same quality as a restaurant located just a few miles from our facility in New York. That is the challenge that motivates me every day.

If you had to summarize your entrepreneurial journey in one sentence, what would it be?

Always believe. Never give up. It may sound like a simple phrase, but it truly summarizes everything. Problems will come. Inevitably. They still do today. The difference lies in how you deal with them. I have learned that every obstacle is an opportunity to improve both the company and yourself. That is why I keep repeating the same thing to myself, from years: Never give up. Never stop believing in what you do.

The post Luigi Speranza’s recipe is only one: “Never Give Up” appeared first on Good Morning Italy.

Institutional meetings were held this morning at United Nations Headquarters between the Commanding General of the Carabinieri, Lt. Gen. Salvatore Luongo, and senior United Nations officials, as part of his working visit to the United States and of initiatives aimed at strengthening international cooperation in the field of peace operations.

During the talks with the Under-Secretary-General for Operational Support, Mr. Atul Khare, and the Under-Secretary-General for Peace Operations, Amb. Jean-Pierre Lacroix, the discussions focused on issues of mutual interest related to the Carabinieri’s wide-ranging contribution to international missions, specialist training, and the development of operational capabilities in support of the United Nations.

Among the main points addressed was the importance of further enhancing the already high level of cooperation with the Carabinieri’s Centers of Excellence.

Particular attention was given to environmental protection in peace operations. In this context, the project to strengthen the Sabaudia Center as a hub of excellence for environmental protection, training, and research was presented, in line with the United Nations’ interest in the role of Environmental Focal Points in international missions.

Another topic of discussion concerned the activities of the Center of Excellence for Stability Police Units (CoESPU) and the prospects for expanding training cooperation with the United Nations, including through the certification of specialist courses for Formed Police Units and the availability to host initiatives dedicated to updating training programs. Over the past 20 years, the CoESPU in Vicenza has trained more than 15,000 police officers from over 130 countries. This perspective is part of Italy’s broader contribution to peacekeeping and Stability Policing.

On the same day, a meeting was also held with Mr. Darrin Jones, Executive Director for Partnership and Planning at INTERPOL. During the meeting, the positive cooperation between the Carabinieri and the Organization was reaffirmed, particularly in relation to the protection of cultural heritage, the fight against transnational crime, and the promotion of the rule of law in fragile or crisis-affected contexts.

The meetings took place in a constructive atmosphere and offered an opportunity to reaffirm the role of the Carabinieri as a key actor in the international landscape of security, training, and police cooperation, while confirming the shared commitment to continue strengthening dialogue and joint initiatives.

The post The Carabinieri Meet with the UN on Peace Operations appeared first on Good Morning Italy.