N O V.

2 0 1 8
N. 8 1 9
€ 5 , 0 0

on

80819

I N E D I C O L A D A L 0 6 .1 1 .1 8
ISSN 0042-8027

9 770042 802009
the

move F R E J A B E H A E R I C H S E N BY E T H A N J A M E S G R E E N
L’Anima del Viaggio
louisvuitton.com
#GucciGothic
DIOR.COM - 02 38 59 59 59
E D I TO R I A L E
Non Solo
di EMANUELE FARNETI
Non è una storia di vesti-
ti. Per lo meno: non solo,
quella della prima sfilata
Celine firmata Hedi Sli-
mane. È piuttosto uno di
quegli intrecci di accadi-
menti, opinioni, interessi
che raccontano qualcosa
del mondo in cui viviamo,
rendendo la moda un pun-
to di osservazione non ba-
nale sulla contemporanei-
tà. Ricapitoliamo. Una de-
signer molto amata (Phoe-
be Philo) lascia il marchio;
la sostituisce una star della
moda, Hedi Slimane, che
pochi giorni prima della
sfilata rilascia un’intervi-
sta in cui mette le cose in
chiaro: io sono io, dice,
non penserete che adesso
stravolga la mia storia. In-
fatti manda in passerella 96
look che nulla hanno a che
vedere con lo stile Philo, e
photo by tim walker. molto con il lavoro da lui
stesso fatto in passato. Se-
guono feroci polemiche,
ancora accese dopo setti-
mane, e consuete scariche
d’odio sui social media.
Direte: succede. Certo, ep-
pure raramente con questa
animosità. Era interessante
provare a capire perché, lo
fa Michele Masneri a pa-
gina 232. Sintetizzando, la
questione tocca più piani.
Uno, come ovvio, è di bu-
siness: lo scontro tra i due
giganti francesi del lusso,
Lvmh per Celine e Ke-
ring per Saint Laurent,
che le scelte di stile di Sli-
mane mettono in diretta
28
competizione. Uno, dicia- Non è solo una gonna
mo così, ideologico: repli- quella che indossa Bebe
care se stessi è coerenza o Vio (pagina 67). Non di
arroganza, convinzione o vestiti, ma di tavole bian-
assenza di idee? Uno, in- che da riempire di sogni, e
fine, politico, tra chi con- di valicabili limiti della fan-
sidera sessiste le minigon- tasia è fatta la fotografia di
ne di Slimane, accusato di Sølve Sundsbø, cui Vogue
rappresentare un mondo Italia dedica una grande
che l’onda di #MeToo ha mostra a Milano (intervista
reso obsoleto; e lo stesso di Alessia Glaviano a pagi-
stilista che vede piutto- na 226). Sono solo piume,
sto sessismo nell’accusare quelle di cui scrive Lynn
lui, uomo, di aver preso il Yaeger a pagina 50, eppu-
posto di una donna, e vio- re la loro leggerezza dice
lenza nel voler imporre un qualcosa di noi: del nostro
unico modo di vestire. bisogno, quando il cielo at-
torno è grigio, di alzarci in
Non erano solo vestiti volo e andare. •
quelli che Flavio Lucchi-
ni metteva in pagina agli
albori di Vogue Italia e
de L’Uomo Vogue: era
una certa idea di Made in
Italy (forse persino d’Ita-
lia), giovane e piena d’e-
nergia, pronta farsi strada
nel mondo anche grazie
ai nostri giornali (l’inter-
vista di Raffaele Panizza è
a pagina 236). Non molta
di quella energia è rimasta
oggi, sarebbe lungo spie-
gare perché e per colpa di
chi. Resta una domanda,
che mi ha posto recente-
mente il top manager fran-
cese di un grande marchio
italiano: ma se un Paese
controllasse due terzi della
produzione mondiale del
greggio non farebbe qual-
cosa per difendere il suo
primato? E perché voi, che
producete i due terzi del
lusso mondiale, non siete
in grado di proteggervi?
vogue.it n. 819
C R AVAT TA N E R A O
P RO F O N D O B LU

Il Seamaster Diver 300M

vi porterà dalle profondità
del mare fino in cima
al mondo, sempre al centro
dell’attenzione.

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Milano • Roma • Venezia • Firenze

Numero Verde: 800 113 399
 28 67 98 164 226
SOMMARIO

98 l’appartamento,
Novembre photos by Rosi Di Stefano,
styling by Luca Galasso
2018 67 nel mondo vero,
di Chiara Barzini,
125 L’Icona
emporio armani
foto di Sarah Piantadosi 130 L’Anniversario
70 Società la forma dell’acqua,
la paura sul filo, di Barbara Amadasi
di Antonio Privitera 133 La Collezione
72 L’Evento effe in equilibrio,
infinite possibilità, di Marta Galli
di Francesca Marani 136 L’Evento
77 La Factory il talento di mr. mouse,
per la nostra strada, di Federico Chiara
28 Editoriale di Samira Larouci 138 Il Personaggio
non solo, 80 La Storia con il vestito buono,
di Emanuele Farneti anche mia, l’africa, di Maria Grazia Meda 164 on the move,
46 A Vogue’s Tale di Walter Siti 140 La Collaborazione photos by Ethan James
io non sono più lì, 82 Imageries una storia d’amore, Green, styling
di Ivan Cotroneo in bianco e blu, di Lella Scalia by Clare Richardson 226 ho fatto un sogno,
48 Foreward/1 di Mariuccia Casadio 142 Il Progetto 184 day of night, di Alessia Glaviano
in sneakers per sempre?, 84 Libri a corpo libero, photos by Mark Seliger, 232 questa non è
di Suzy Menkes c’è più gusto in italia, di Valentina Bonelli styling by Renata Correa una storia di vestiti,
50 Foreward/2 di Laura Taccari 144 Style patti’s eyes, 198 chasing the dragon, di Michele Masneri
leggere come piume, 86 La Mostra di Patti Wilson photos by Tim Walker, 236 eravamo pirati,
di Lynn Yaeger il banchetto ottico, 146 Style/Assemblage styling by Zoe Bedeaux di Raffaele Panizza
52 Sketch di Paolo Lavezzari trapuntato, 208 overhead, 240 English Texts
il domani in testacoda, 88 L’Intervista a cura di Mirta Trastulli photos by 242 Oroscopo
di Angelo Flaccavento mettendoci la faccia, 148 Style/Focus On 1/2/3/4 Dario Catellani, novembre
54 Vogue’s Questionnaire di Elisabetta Caprotti, boots, clutch invernali, styling by George Cortina di Marco Pesatori
andré leon talley foto di Giovanni Corabi postina, pitone a 216 les enfants 244 Casa Italia
60 Front 90 Il Personaggio macchia naturale, terribles, photos by font forma,
dove comincia un simbolo, noi, visti da qui, a cura di Francesca Michael Bailey-Gates, fonderia nebiolo (1968),
di Beatrice Zamponi di Lorenzo Mieli Ragazzi styling by Patti Wilson di Francesca Molteni

Front News Code Well Back

vogue.it n. 819 35
Enjoy responsibly.
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2 0 1 8 Novembre
40 vogue.it n. 819
A VO G U E’S TA L E
Io Non Sono Pi• L“
di IVAN COTRONEO*
Ogni mese, un racconto
N O V. d’autore dedicato
2 0 1 8
N. 8 1 9
€ 5 , 0 0
on alla copertina di Vogue.
Quando leggerai questo
foglio, io non ci sarò più.
the Immagino tu abbia chia-
mato il mio nome entran-
do in casa, magari più vol-
te. Forse mi hai cercata al
move F R E J A B E H A E R I C H S E N BY E T H A N J A M E S G R E E N
telefono, sorprendendoti
di quella voce che ti dice-
va che il mio numero non
N O V.
2 0 1 8
N. 8 1 9
esisteva più, pensando a un
errore. No, non lo è.
€ 5 , 0 0
on
Queste righe potrebbero
risparmiarti la fatica di cer-
care notizie da amici, pa-
the renti, colleghi di lavoro. Io
non sono più lì. Non ci so-
no più le mie cose nell’ar-
madio, e gli oggetti – libri,
move F R E J A B E H A E R I C H S E N BY E T H A N J A M E S G R E E N
ricordi, tutte le mie foto
– che erano nelle nostre
stanze, sono scomparsi in-
sieme a me. Sì, lo so. For-
N O V.
2 0 1 8
N. 8 1 9
€ 5 , 0 0
on se ti è difficile anche solo
immaginarlo, perché io ci
sono sempre stata per te. E
la consuetudine di avermi
the sempre al tuo fianco, la si-
curezza con la quale sapevi
che ci fossi, mentre invece
ti comportavi come se non
move fossi lì, potrebbe farti pen-
sare a uno scherzo, o a una
F R E J A B E H A E R I C H S E N BY E T H A N J A M E S G R E E N
decisione temporanea, o a
un capriccio. Sbaglieresti.
Qualcuno, mi sembra mia
sorella, ti disse una volta,
che nascondevo oceani
dentro di me. Tu ridesti,
FREJA BEHA ERICHSEN IN FENDI, MIU MIU, MAX MARA
PHOTOGRAPHED BY ETHAN JAMES GREEN come se avessi la chiave di
STYLED BY CLARE RICHARDSON. tutti i miei segreti, come
In alto. Giacca doppiopetto e gonna midi di cotone a pieghe, Fendi; reggiseno Tableaux Vivants; calze Pan & The se solo tu sapessi la verità
Dream. Sulla pelle, Face & Body Foundation Dior Backstage, Dior. assoluta su di me. Come
Al centro. Soprabito di georgette, top e culotte di jersey con profili a contrasto, pantaloni di tessuto tecnico
e sandali di pelle metallizzata con cristalli applicati, Miu Miu. Sui capelli, Hair Mist, Miu Miu.
se quegli oceani, se mai
In basso. Blazer monopetto in foulé di cashmere bi-stretch e gonna a tubo di raso plissettato, Max Mara. esistiti, fossero comunque
Reggiseno Yasmine Eslami; calze Falke. Pumps di vernice, Gianvito Rossi. Sulle gambe, Fluide Parfumé Izia, Sisley. conosciuti, domabili, a tua
hair Shay Ashual @ Art Partner. make-up Kanako Takase @ Streeters using Charlotte Tilbury. manicure Casey disposizione. Da attraver-
Herman for Dior @ The Wall Group. set design Julia Wagner @ Clm. on set Cat Lewis @ M.a.p. sare o prosciugare.
46
Invece sono andata via.
I motivi li conosci, e in ef-
fetti si riducono a uno solo.
L’amore è finito, lo sai bene
tu che da anni ti comporti
come se non fosse mai esi-
stito. Quello che ci aveva
trascinato fino a ieri, il ri-
cordo, sarebbe forse basta-
to, se avessimo affrontato
questo tempo insieme. Ma
tu mi hai lasciata sola.
Non cercarmi, non riusci-
resti a trovarmi. Uno di
quegli oceani, dentro di
me ha preso il sopravvento
e si è ribellato. Alla tua svo-
gliatezza, ai tuoi tradimen-
ti, alla tua sicurezza, al pas-
so deciso con cui entravi in
casa sapendo che sarei stata
lì, pronta ad ascoltarti. L’a-
more è finito quando hai
smesso di chiedermi: “Co-
me stai?”. E l’oceano allora
si è mosso, in un’unica on-
da. Tranquillo, potente, e
inarrestabile.
Non ti chiedere dove sono,
non lo indovineresti mai.
Puoi immaginarmi così,
se vuoi. Sono in un posto
lontano, in una nuova casa.
Altrove. Intorno a me c’è
quello che ho preso della
nostra vecchia vita, e den-
tro di me ho la forza di az-
zerare tutto e ricomincia-
re. Sono sola, e forte. Sono
il personaggio principale
della mia storia. Sono bella
come non sono mai stata,
come tu non mi hai mai vi-
sto. Non mi riconosceresti.
È l’inizio della mia nuova
vita. •
*Scrittore, regista e sceneggiatore
napoletano, 50 anni, ha pubblica-
to tra gli altri il romanzo Un bacio
(Bompiani, 2010). Questo mese
esce Le voci del sogno (La nave di Te-
seo), una raccolta di racconti brevi.
vogue.it n. 819
FO R E WO R D/1
Ho posato lo sguardo sul-
la sagoma di legno del pie-
de di Pierre Bergé, il com-
pagno di una vita di Yves
Saint Laurent. Accanto, su
uno scaffale dei laboratori
Berluti a Parigi, c’era, co-
me fosse scolpita, una
scarpa stringata di pelle,
quella che ogni uomo ele-
gante ha almeno una volta
sognato di avere.
Accanto a me, in quei
giorni di porte aperte del-
le Journées Particulières
organizzate da Lvmh, una
fiumana di uomini e don-
ne che avevano comprato
il biglietto per assistere a
questo evento dedicato
all’artigianato. Lo sguardo
mi è caduto sui loro piedi
e mi sono resa conto di
una cosa straordinaria:
tutti gli uomini – di cui
probabilmente nemmeno
uno superava i trentacin-
48
In Sneakers Per Sempre?
que anni, anzi, alcuni era-
no molto più giovani –
sembravano aver messo da
parte le sneakers.
Non c’è dubbio che le
scarpe sportive abbiano
invaso il mondo della mo-
da maschile – non da ulti-
mo da Louis Vuitton, dove
Virgil Abloh, il nuovo di-
rettore artistico menswe-
ar, è subito diventato cele-
bre per la sua collabora-
zione con Nike. Le snea-
kers/trainers sono “l’ac-
cessorio” della generazio-
ne dei millennials, e quin-
di è davvero difficile im-
maginare che qualcuno
che non ha mai infilato
una scarpa “vera” – con to-
maia e parte esterna di
pelle rigida, più soffice
nella linguetta – possa ora
accettare di costringere i
piedi in una solida stringa-
ta di pelle.
di SUZY MENKES*
Tuttavia, nel mondo della
moda le cose cambiano
impercettibilmente e al-
trettanto velocemente.
Non vuol dire che la gente
stia necessariamente ab-
bandonando le sneakers,
piuttosto che sta cercando
delle scarpe adatte a occa-
sioni diverse. C’è stato un
momento in cui era cool
arrivare a un matrimonio
in abito elegante e scarpe
sportive dipinte a mano a
motivi vivaci. Ora, quell’i-
dea ci fa fare solo un gigan-
tesco sbadiglio “fashion”.
Sulle passerelle è successa
la stessa cosa. Sarà forse
perché sono tante le sfilate
che mescolano i sessi,
menswear e womenswear,
ma di fatto il messaggio
ora pare essere: siate ele-
ganti dalla testa ai piedi.
Quell’idea un po’ indefi-
nita di “smart casual” non
basta più. Prendiamo Cé- Celine che Pierre Bergé,
line. Guidato da Phoebe grande sostenitore di He-
Philo, il brand era sinoni- di, avrebbe sicuramente
mo di femminilità, ed era adottato. La moda trova
esplicitamente pensato sempre il modo di essere
per soddisfare le richieste un passo avanti. •
della donna contempora-
nea. Passando alla versio-
ne proposta da Hedi Sli-
mane nella sua sfilata Ce-
line (ora senza accento),
l’abbigliamento maschile
sartoriale ha eclissato lo
foto alex majoli/contrasto. traduzione alice guareschi.
stile femminile spesso più
frou frou. Cosa indossava-
no gli uomini di Hedi?
Stivaletti affusolati e ap-
puntiti, con tre cinturini
(visti poi anche ai piedi
delle donne). C’erano
scarpe maschili lucide con
il cinturino in preziosa
pelle color ruggine, e per-
sino stringate argento in
netto contrasto con un
cappotto leopardato.
E per finire c’erano anche
delle stringate da uomo *International Vogue Editor
vogue.it n. 819
FO R E WO R D/2

Leggere Come Piume

di LYNN YAEGER*

no21 tom ford marc jacobs gucci loewe

«La speranza è quella cosa
piumata che si viene a po­
sare sull’anima, e canta
melodie senza parole»,
scriveva la poetessa Emily
Dickinson a metà Otto­
cento. All’epoca viveva ad
Amherst, in Massachu­
setts, e di sicuro non sede­
va in prima fila da Tom
Ford, né risultava sulla li­
sta vip di Dior.
Ma nessuno può negare
che il suo spirito aleggiava
sulle sfilate dell’autunno,
Tom Ford un abito bianco
luccicante si fondeva in una
frangia di piume. Perché
tutto questo proliferare di
piume proprio adesso? In
fondo, in un mondo dove
la situazione politica glo­
bale non è per niente faci­
le, né divertente, aggiun­
gere un dettaglio così va­
poroso non è un po’ frivo­
lo, o addirittura una cosa
da scervellati? (Da cervelli
di gallina, se vogliamo re­
stare in tema).
combattere le forze del
male con la bellezza, e an­
nientare l’orrore con lo
splendore!
Certamente questo pen­
chant per le piume non è
una novità. I nativi ameri­
cani le usavano in gran
quantità per decorare i lo­
ro copricapi. Nell’Europa
del Sedicesimo secolo
adornavano, fluenti, le
maschere veneziane. Le
signore di epoca vittoriana
avvolgevano boa di piume
energico movimento anti­
piume. All’epoca della Pri­
ma guerra mondiale, tale
follia andò scemando, ma
poi tornò a furoreggiare in
diversi momenti del seco­
lo scorso. Del resto, chi
mai può negare il potere
delle piume di aggiungere
un tocco di eterea delizia
anche al guardaroba più
sobrio?
In tempi come questi per­
ché non celebrare il no­
stro amato pianeta diven­
quello che cerco di fare è
trasporre la bellezza degli
uccelli nelle donne». Uc­
celli e donne che insieme
prendono il volo e si libra­
no in alto! Potrebbe mai
esserci un messaggio mi­
gliore per la prossima sta­
gione? •

foto gorunway. traduzione chiara stangalino.

dove si sono viste monta­
gne di abiti con le piume.
Da Gucci, dove c’era per­
sino una modella con un
pappagallo appollaiato
sulla spalla, erano color
chartreuse e danzavano
sul palco. Da Loewe sem­
brava di sentir cinguettare
uccelli con piume dalle
sfumature pastello. Da
Ci ho pensato parecchio, e
vi dico che la risposta è:
assolutamente no!
La gioia pura e frizzante
delle piume è esattamente
quello che ci vuole in un
momento come questo.
Quando i tempi sono duri
vogliamo davvero ritirarci
nella codardia di jeans e
maglietta? No! Vogliamo
intorno ai loro bei colli.
Le nostre antenate edoar­
diane ne andavano pazze,
ed erano capaci di issare
un intero uccello morto
sui loro già enormi cap­
pelli. La richiesta era tal­
mente spropositata da
mettere in pericolo la so­
pravvivenza di intere spe­
cie di uccelli, il che fo­
mentò la nascita di un
tando, letteralmente e fi­
gurativamente, dei pavo­
ni? «Sono affascinato da­
gli uccelli in volo», spiega­
va il maestro Alexander
McQueen, un uomo che le
piume le amava molto.
«Mi ispira la forma della
piuma, e anche i suoi colo­
ri, la grafica, l’assenza di *Contributing fashion editor di
peso, l’ingegneria: è tutto vogue.com e contributing writer
molto elaborato. In realtà dell’edizione americana di Vogue.

50 vogue.it n. 819
S K E TC H

Il Domani In Testacoda
di ANGELO FLACCAVENTO

Il futuro nella moda è già
passato. Lo è nell’imme-
diato: flash-forward sta-
gionale che anticipa di sei
mesi, o forse tre, l’oriz-
zonte del possibile, del le-
cito, dell’esteticamente ri-
levante, spostando aspira-
zioni e modi d’essere da
qui a lì e da lì a qui, sempre
che poi non ci si metta il
see now, buy now – se ne
ricorda qualcuno? –, nefa-
sto azzeratore dello iato
fermentante nel quale il
desiderio plasma la perso-
na, dando tempo alla pro-
iezione di modellarsi in
realtà. Ma questo è ritmo
noto e spiccio, dettato che
piaccia o meno dal ciclo
industriale cui le evoluzio-
ni dell’apparire sottostan-
no oggi che il mercimonio
è condizione ontologica
condivisa, anche se poi
basta un semplice tric trac
di imitazioni e appropria-
zioni per ottenere hic et
nunc l’effetto di quel che
abitini postmoderni da di-
sco-bambina (Louis Vuit-
ton), il medioevo prossimo
venturo delle cotte metal-
liche (Paco Rabanne) e il
barbarismo del vello ani-
male gettato sul mantello
di cellophane (Gareth Pu-
gh); c’è stato il glamour da
sciantosa replicante come
una diva dell’âge d’or
(Thierry Mugler) e il mil-
lenarismo apocalittico che
antepone al bello l’utile,
glorificando la funzione
(Final Home). Un futuro
così vero da essere sorpas-
sato dalla realtà dei fatti,
come la plastica insosteni-
bile che va smaltita, o usata
così, deteriorata (lo fanno
oggi da Courrèges).
Giunto il presente di
quello che era futuro, ec-
co, tutto è al punto di
partenza. Meglio allora
azzerare ai primordi. I re-
cessi della storia, del resto,
catapultano nel futuro,
nelle profondità siderali di
galassie lontane lontane.
Non solo il tempo è mate-
ria elastica e soggettiva,
dunque, come da ultimo
hanno rivelato autorevoli
studi. Le pulsioni umane
di base sono sempre quel-
le, dall’altro ieri a dopodo-
mani. Il corpo nudo non
basta. Va dipinto, decora-
to, protetto, amplificato.
Così è dalla Terra del
Fuoco a Marte passando
per un posto qualsiasi,
adesso, dell’orbis terra-
rum. Con una certa legge-
rezza del sentire (la sugge-
risce a suon di veli, kimono
e iridescenze Angela Mis-
soni), quella sì conquista
del momento. A cuor leg-
gero, suturando eoni senza
bagagli emozionali. •

foto © martin gusinde/anthropos institute/editions xavier barral.

sarà, senza necessariamen-
Martin Gusinde, “Uno spirito Yinchihaua dipinto di bianco con ossa polverizza-
te. Rito di iniziazione Kawésqar, 1923-1924”. La foto è parte del vastissimo te spendere oboli in pro-
portfolio realizzato nel 1919 nella Terra del Fuoco dal missionario tede- dotti. Questione di styling,
sco, e raccolta nel libro “L’esprit des hommes de la Terre de Feu”, Éditions no? Adotta e adatta.
Xavier Barral.
La quaestio del tempo ag-
grovigliato, in testacoda,
diventa da capogiro se si
allarga il compasso di
qualche decade. Nella
moda gli scenari potenzia-
li li si è esplorati tutti, a
esclusione di barlumi che
ancora attendono di balu-
ginare chissà dove nelle
fantasie di chissà chi.
C’è stata l’odissea galattica
dei viaggi interstellari in
perché gli alieni e tutto il
resto ci sono già stati. Ci
sono ancora, intonsi dalla
civiltà. Gli estremi si toc-
cano e dall’atavico al fan-
tastico corre un segmento
brevissimo. Una lineetta
che Issey Miyake ha plis-
settato ad infinitum risol-
vendo per tutta la carriera
il rompicapo del vestire il
corpo con un sol pezzo di
stoffa. Che è infatti quanto
facevano antenati e trisa-
voli drappeggiando, avvol-
tolando e giù caracollando
indietro agli albori caver-
nicoli, o spingendosi avanti

52 vogue.it n. 819
VO G U E’S Q U E ST I O N N A I R E
André Leon
Talley
Passioni, piaceri, paure:
confessione d’autore
liberamente ispirata
al questionario di Proust.
54
Il tratto principale del mio
carattere.
Grazia e gentilezza.
La mia qualità più spiccata.
Umiltà e modestia.
Lo stato attuale del mio spi-
rito.
Espansivo.
Quel che apprezzo di più nei
miei amici.
Lealtà.
La mia fonte di ispirazione.
La natura e la fede sono
i miei fondamenti.
Il luogo dove sono stato più fe-
lice di lavorare.
Al computer della mia scri-
vania in camera da letto.
La mia ossessione.
Leggere biografie di per-
sone affascinanti che han-
no cambiato il mondo.
Cos’è per me la moda.
Pulizia e semplicità. L’ele-
ganza è rifiuto.
Le qualità che cerco in un a-
bito.
Semplicità delle linee e
qualità artigianale.
Cos’è oggi l’eleganza.
Tutto è permesso.
La mia icona di stile.
Michelle Obama.
L’abito che mi ha cambiato
la vita.
Non uno ma decine di
abiti.
La prima cosa che mi viene
in mente quando penso alla
moda.
Maria Antonietta.
Il modo migliore di passare il
tempo.
Condividere idee con cari
amici.
Il mio colore preferito.
Blu navy.
L’animale che preferisco.
L’elefante.
Quel che detesto più di tutto.
Unghie sporche e piedi
non lavati.
Quel che c’è di male in me.
Non c’è alcun male in me.
Il talento o attributo fisico che
vorrei avere.
Fare surf o scalare mon-
tagne.
Come vorrei morire.
A letto, nella tranquillità
del sonno.
Il mio sogno di felicità.
Ridere e conversare ama-
bilmente con gli amici.
Come intitolerei la mia bio-
grafia.
La mia vita nelle trincee di
chiffon.
La cosa più preziosa che pos-
siedo.
Le fotografie di mia non-
na.
Il mio motto.
Se posso aiutare qualcuno
la mia vita non sarà inutile.
Chi metterei sulla copertina
di Vogue Italia.
Michelle Obama. •
André Leon Talley, 69 anni, è una
delle più influenti figure dello stile
internazionale. Ex editor at large e
ora collaboratore di Vogue Ameri-
foto jenny gage and tom betterton/trunk archive.
ca, è stato uno dei primi afroame-
ricani ad aver ottenuto un ruolo di
prestigio nel fashion system. La
sua storia, dalle origini modeste
nell’epoca della segregazione del
Sud al periodo a fianco di Diana
Vreeland, fino all’ascesa nell’olim-
po della moda e il conseguente suo
impegno nel promuovere i giovani
stilisti afroamericani, è raccontata
nel docufilm The Gospel According
to André. Diretto da Kate Novack,
raccoglie le testimonianze di amici
e colleghi, tra cui Tom Ford e Marc
Jacobs, ed è stato presentato in an-
teprima per l’Europa alla scorsa
Barcelona Fashion Week.
vogue.it n. 819
 Clip Ballerina Lina
Oro bianco e diamanti.

Haute Joaillerie, place Vendôme dal 1906

Via Condotti, 15 ROMA

Via Montenapoleone, 10 MILANO
www.vancleefarpels.com - +39 02 36000028
60 vogue.it n. 819
 DOVE COMINCIA UN SIMBOLO
Front
Adottare qualcosa di banale, onnipresente: come le strisce pedonali, o un fumetto manga. E renderlo
significativo − facendone un segno di moda, o un’opera d’arte. Secondo “Time” Takashi Murakami e
Virgil Abloh sono tra i personaggi più influenti di oggi. Ecco, in un’intervista esclusiva, cosa li accomuna.

di BEATRICE ZAMPONI

61
 «Collaborando con Virgil volevo costruire un ponte più
solido e nuovo tra l’arte e un pubblico generico, tra la
moda e la subcultura; volevo che tra vent’anni anni un
artista potesse guardare indietro avendo la sensazione
che tutto è possibile. Mi sono fatto carico della respon-
sabilità di sapere che come vivo e lavoro oggi condi-
zionerà l’ampiezza e la profondità delle scelte creative
delle future generazioni di artisti. Diciamo che sto se-
minando per loro».
«Interpretare la società contemporanea, darne una let-
tura è al centro della mia ricerca. Takashi e io siamo
estremamente consapevoli dell’era nella quale viviamo
e cerchiamo costantemente di tradurla nel nostro lavo-
ro. Proprio questo ci ha fatto incontrare».
Indicati da “Time” tra i personaggi più influenti della
nostra società, Virgil Abloh e Takashi Murakami condi-
vidono una capacità diabolica di fondere categorie con-
siderate distinte, se non opposte, e così di interpretare
e trasformare il contemporaneo. Americano di origini
ghanesi, Abloh, 38 anni, ha una laurea in ingegneria e
una in architettura, ed è forse questa diversità dal mon-
do moda ad avergli regalato la peculiare abilità di en-
trare in sintonia con ciò che i diversi pubblici vogliono:
creative director del rapper Kanye West, dj, fondato-
re dell’etichetta Off-White, Abloh è l’“araldo del cool
immediato” (come lo definiva su queste pagine Angelo
Flaccavento nel numero di maggio), allo stesso tempo
direttore artistico per il menswear di Louis Vuitton
e creatore per Ikea di una linea di arredo dedicata ai
millennials in uscita nel 2019. Di Takashi Murakami si
è detto tutto: 56 anni, è il più noto artista giapponese,
miscelatore di cultura alta e bassa, oriente e occidente,
tradizione e manga. Ha unito il concetto di factory ra-
dicato nell’artigianato giapponese, quello di Warhol e i
sistemi produttivi del cinema di Hollywood, arrivando
62 Front
a fondere arte e mercato e vendere insieme sculture e
© virgil abloh e © takashi murakami, foto joshua white - jwpictures.com, courtesy gagosian. ritratto di christian anwander. in apertura. © virgil abloh © takashi murakami, courtesy gagosian.
quadri da milioni di dollari con prodotti di massa come
magliette e portachiavi.
I due sono amici da anni, e da anni guardano al lavo-
ro l’uno dell’altro con ammirazione, influenzandosi a
vicenda. Hanno deciso di collaborare realizzando una
serie di mostre nelle gallerie di Larry Gagosian: il ci-
clo, cominciato a Londra a febbraio con l’esposizione
“Future History”, è arrivato in estate a Parigi (“Techni-
color Two”), per concludersi pochi giorni fa con “Ame-
rica Too” nella sede di Beverly Hills. Obiettivo, come
raccontano in questa intervista doppia a Vogue Italia:
evidenziare i numerosi vasi comunicanti tra i loro ec-
centrici linguaggi.
Lavorate con grandi squadre, come in una bottega ri-
nascimentale. Quanto è importante questo aspetto col-
laborativo?
Takashi Murakami. Da sempre ho sentito che la figu-
ra dell’artista solitario non faceva per me, mentre l’idea
della bottega mi sembrava molto più congeniale. Così,
ho cominciato a praticarla e la mia l’ho chiamata Kaikai
Kiki, che significa eccentrico e meraviglioso. Sono ter-
mini che venivano tradizionalmente usati in riferimento
all’artista Kano Eitoku, della Kano School, una bottega
specializzata in arte decorativa fondata prima del pe-
riodo Edo. Questo sistema collaborativo non era però
comune nell’arte contemporanea o nell’arte giapponese
al tempo del mio debutto; ho dovuto costruirlo e lottare
per affermarlo. Spero che viva se non per 300 anni come
la scuola di Kano, almeno per 100 come la Disney!
Virgil Abloh. La nostra pratica condivisa è legata a ciò
che produciamo. Grandi équipe sono assolutamente vi-
tali per lavorare a determinate scale di grandezza, sia
fisiche sia produttive, e raggiungere certi risultati. La
Qui accanto e in apertura. Tre opere di Takashi
Murakami & Virgil Abloh: “Times: America Too”,
2018 (acrilico su tela, 180.3 x 191.8 x 20.3 cm),
e due versioni di “Times Nature”, 2018
(acrilici su tela, 150 x 150 cm). I lavori, nati
dalla collaborazione tra l’artista giapponese
e il direttore creativo menswear di Louis
Vuitton, sono stati esposti in un ciclo di mostre
organizzato nelle gallerie di Larry Gagosian
prima a Londra, poi a Parigi e a Beverly Hills.
vogue.it n. 819
In basso. Virgil Abloh, 38 anni, direttore creativo
della linea maschile di Louis Vuitton, è anche
il fondatore di uno dei brand di streetwear deluxe «Tutto parte da
Duchamp. Ho
di maggiore successo degli ultimi anni: Off-White,
lanciato nel 2013, con produzione e sede a Milano.

traslato
il suo
linguaggio
nel mondo
di oggi».
Virgil Abloh

63
 «Volevo
costruire
un ponte tra
l’arte e
un pubblico
generico,
tra la
moda e la
subcultura».

ritratto di antoine doyen. artworks © virgil abloh e © takashi murakami, foto èarko vijatovic, courtesy gagosian.
Takashi
Murakami

collaborazione tra noi è basata sulla totale inclusione
dei nostri team che lavorano come fossero uno solo.
Entrambi utilizzate simboli, icone riconoscibili che di-
ventano i vostri inconfondibili marchi di fabbrica.
V.A. Nel mio caso parte tutto da Duchamp e dalla nuo-
va possibilità espressiva che ci ha dato attraverso il re-
ady-made. Ho traslato il suo linguaggio nel mondo di
oggi scegliendo per esempio di usare le strisce di attra-
versamento pedonale come simbolo. Ho adottato qual-
cosa di banale, onnipresente, pronto all’uso e con la sua
ripetizione l’ho reso parte significativa del mio lavoro.
T.M. Ho cominciato a raffigurare i miei personaggi per
raccontare come, dopo la Seconda guerra mondiale,
il Giappone si sia focalizzato nella creazione di questi
graziosi/inquietanti pupazzetti; un mondo complesso
che rappresenta una delle nostre originalità culturali
più forti, per questo ho voluto trasformarne i protago-
nisti in icone.
Abloh, nel suo linguaggio lei usa molto il lettering e
le virgolette, c’è una volontà dadaista in questa scelta?
V.A. L’uso di questa tipografia mi consente di essere fi-
gurativo e letterale allo stesso tempo, mi aiuta a ricon-
testualizzare oggetti o concetti, consentendomi di svi-
luppare una dimensione ogni volta nuova in cui creare.
Nel suo lavoro spesso rivela parte del suo processo
creativo, perché?
V.A. Mi offre la possibilità di umanizzare ciò che sto

64 Front vogue.it n. 819


facendo e di avvicinare le persone. Mi affascina l’idea
che una connessione umana possa scattare attraverso
strumenti inanimati.
Nel 2002, Murakami comincia una collaborazione con
Vuitton che ha totalmente rivoluzionato l’immagine
del brand. Marc Jacobs – all’epoca direttore creativo
– disse: «Questa esperienza è stata un monumentale
matrimonio tra arte e commercio». Che cosa ricorda?
T.M. Come Sting era un inglese a New York, Marc Ja-
cobs era un americano a Parigi e cercava di affermare la
sua identità statunitense in Francia. La sua prima col-
laborazione con Stephen Sprouse e i suoi graffiti de-
rivano proprio da questa necessità. L’esperimento tra
arte e moda ebbe un tale successo che ne nacquero altri,
tra cui il mio. È chiaramente stato un passaggio epico.
Ora le collaborazioni sono all’ordine del giorno, ma do-
vremmo sempre ricordarci chi ne è stato un pioniere.
V.A. È stato un esperimento totalmente rivoluzionario.
Mischiare arte e moda e farlo senza alcun compromes-
so. Quello fu un momento nodale anche per lo sviluppo
della mia creatività. La capacità di decostruire di Mura-
kami, la sua libertà estetica e concettuale sono state per
me di assoluta ispirazione.
Oggi è Abloh il direttore artistico della linea maschile
di Louis Vuitton. Cosa pensa di questa coincidenza?
T.M. Che la sua posizione non è molto diversa da quella
di Marc al tempo. Anche il lavoro di Virgil sta segnando
un’epoca: un afroamericano alla guida di una maison
parigina. Mi aspetto che spinga sempre più forte la sua
Takashi Murakami
& Virgil Abloh,
Technicolor 2,
Installation View,
2018. Nella pagina
accanto. Takashi
Murakami, 56
anni, definisce
la sua estetica
“Superflat” perché
fonde una grande
varietà di elementi,
appiattendoli in
superfici colorate.
identità in questo senso. Si tratta di un passaggio che
segna l’instabilità positiva della moda, sottolineando
come continui sempre ad assorbire stimoli diversi per
evolversi in maniera spesso anche più libera dell’arte.
Tra le opere che avete presentato c’è un lavoro in cui
un autoritratto di Bernini si sovrappone con Mr. DOB,
il primo personaggio creato da Murakami ispirato ai
fumetti manga. C’è una relazione particolare con il
celebre architetto italiano?
V.A. Bernini è stato un artista multidisciplinare e si lega
alla mia sensazione personale che la società contempo-
ranea stia vivendo una sorta di Rinascimento. Anche se
sul piano storico è una figura del pieno Barocco, per
me, metaforicamente, incarna lo stesso spirito di rinno-
vamento e modernità che era cominciato nel Quattro-
cento. Volevo legare ciò che Takashi e io stiamo facendo
oggi a quel tipo di approccio e creatività sperimentale.
L’opera più rappresentata nelle mostre in multiple ver-
sioni di colori, materiali e supporti è la semplice inter-
sezione dei vostri simboli più inequivocabili: le quattro
frecce di Abloh e il fiore che sorride di Murakami, una
sorta di nuova icona composta a sua volta da icone.
T.M. È un gesto emblematico, volevamo davvero ren-
dere inscindibili i nostri linguaggi. Credo che l’arte di
valore si possa valutare solo dopo anni dalla sua realiz-
zazione e non nell’immediato. Vorrei che il pubblico del
futuro guardasse al nostro lavoro pensando alla fine di
un’era in cui l’arte era ancora protetta in un santuario e
in cui noi lavoravamo incessantemente per farla uscire. •
65
 #MolteniGroup

ARMADIO GLISS MASTER— VINCENT VAN DUYSEN

 Nel Mondo Vero
La moda, i social, gli haters: così li vive e li racconta BEBE VIO, supereroina in incognito.
News
di CHIARA BARZINI foto di SARAH PIANTADOSI

All’università americana John Cabot di Roma gira una tre ori agli europei (2014/’16/’18), conduttrice di “La
bambina prodigio cresciuta in incognito, Bebe Vio. Oro vita è una figata!” (2017), ambasciatrice di Dior, supere-
paralimpico a Rio nel 2016, mondiale nel 2015 e 2017, roina del romanzo fantasy di Pierdomenico Baccalario

vogue.it n. 819 67

“BeBlade. Bebe Vio e la sua squadra” (Piemme, 2018),
questa ventunenne – che, quando entra in una stanza,
emana una forza tale da cambiare in meglio persino i
tratti delle piante che la circondano – è anche una stu-
dentessa universitaria.
Come mai ha deciso di frequentare un’università ame-
ricana a Roma?
Prima di venirci ho imparato l’inglese e ora sono felice
di respirare un clima internazionale e di studiare in que-
sta lingua, staccata da tutto. All’inizio mi hanno messo
in casa con una ragazza boliviana, una del Madagascar
e una bulgara che non sapevano niente di me. Quando
sono arrivata mi hanno chiesto: «Ma che razza di gambe
hai?». Essendo giovani e sapendo che vai a vivere con
loro, non si fanno problemi a fare domande. Mi piace
questo modo di fare schietto. Mi sono presentata alle
ragazze come Beatrice, non mi conoscevano come Bebe.
Adesso mi chiamano B. perché Beatrice non riescono a
dirlo. Da un lato sono B., dall’altro Bebe. Per loro io va-
do in palestra, viaggio spesso, ma non sanno delle gare.
68 News
«Non sono un
prototipo di bellezza,
ma la gonna corta
la metto comunque
per far vedere la
protesi. Mi mostro,
insomma, e a furia
di insistere, nei talk,
negli spettacoli,
adesso sono gli altri
che mi chiedono di
farlo. C’è una certa
bellezza in questo».
Si chiedono come mai salto la scuola per fare tanti viag-
gi. È bello vivere così, in due mondi totalmente diversi.
È difficile mantenere l’identità di supereroina segreta?
Cominciano a sgamarmi: quando usciamo a cena, la
gente mi ferma o mi chiede di fare una foto insieme.
Quando è successo due volte nella stessa sera, le ragazze
mi hanno guardata storta. Dopo un mese si sono in-
sospettite e mi hanno trovata su Instagram! Una sera
mi hanno detto: «Non ci hai detto che eri a cena con
Obama!».
Queste sue due vite sono in conflitto con lo sport?
Non tutti i professori accettano che debba saltare delle
lezioni. Abbiamo fatto gli europei la settimana scorsa e
prima siamo stati in ritiro, nove o dieci ore al giorno
tra Pisa e Roma. Non c’era tempo per le lezioni o per
studiare. Ora tra l’altro sto seguendo un corso impegna-
tivo: “Race, Gender and Society”. La prima lezione era
sull’approccio maschilista nel cinema e nell’arte. Mi so-
no innervosita subito.
Lei è sbocciata in un momento in cui questi temi sono
in fase di ribaltamento, nella cultura popolare e nello
vogue.it n. 819
 sport; penso alla forza dello statement di Serena Wil-
liams all’US Open (ha dato del sessista al giudice Ra-
mos, ndr). Anche lei è un modello per molte ragazze.
Ho sempre avuto esempi femminili su cui basarmi. Mia
madre è un mio idolo, e sul lavoro ho conosciuto tante
donne che ammiro: Maria Grazia Chiuri per tutti è il
boss dei boss, per me è “zia scialla”. È la prima donna a
capo di Dior in un mondo pieno di discriminazione. La
prima italiana in un mondo di superfrancesi. Sta facen-
do cose pazzesche... come la maglietta che diceva “We
should all be feminist”. E adesso nell’ultima collezio-
ne ha aperto con uno statement preciso: “C’est NON
NON NON et NON !”. Ha rivoluzionato un brand.
È la sua prima volta su Vogue Italia. Cosa la attrae
della moda, e come vi è arrivata?
L’incontro fatale è stato quello con Maria Grazia, lei ha
voluto tre schermitrici alla sfilata P/E 2017 (Bebe, Arian-
na Errigo e Rossella Fiamingo, nda) per rappresentare
la donna lottatrice, ma elegante. Ha portato la scherma
nella moda, dove lo sport non era ben visto. Come modo
di fare siamo un po’ mascoline. Io non sono un prototipo
di bellezza, ma la gonna corta la metto comunque per far
vedere la protesi. Mi mostro, insomma, e a furia di insi-
stere, nei talk, negli spettacoli adesso sono addirittura gli
altri che mi chiedono di farlo. C’è una certa bellezza in
questo. Le cose stanno cambiando. Gli sponsor cercano
stylist deborah de groot. hair simone prusso @ atomomanagement using davines. make-up laura dominique @ streeters.
forza. Sono gasatissima, è faticoso ma bello. Detto ciò,
all’ultima sfilata sono arrivata in ritardo e sono rimasta
fuori. Mi hanno fatto il cazziatone.
Cosa le piace di più di questo intrecciarsi di generi?
Mi diverto. La scherma, l’università e l’associazione
(l’art4sport è l’onlus ispirata alla storia di Bebe e vede
lo sport come terapia per il recupero fisico e psicologico
di giovani portatori di protesi, nda) sono le mie passio-
ni fisse, il resto lo prendo come sperimentazione. Tutta
la mia famiglia mi sta aiutando. Papà è un supereroe.
Mamma segue noi figli, la casa, il cane malato, viene ai
miei eventi. Ci divertiamo e l’associazione spacca.
Come vive il mondo della comunicazione e dei social
media? È cambiato anche il suo modo di comunicare?
Sono del ’97, all’inizio non volevo Facebook né Insta-
gram; mia sorella ha cinque anni meno di me e ci è cre-
sciuta. Mia cugina, nove anni, è nata con l’iPad in mano,
usa il mio profilo Instagram per mettere like ai calciato-
ri. Tutto cambia velocemente. Io mi diverto ma so che,
anche se hai tanti follower, non significa che nella vita
hai spaccato. Non vivo con il cellulare in mano, conosco
i suoi lati positivi e negativi, e leggo anche gli haters che
hanno creato pagine contro di me; ma ho capito come
prenderla, perché so che quello non è il mondo vero.
Chi scrive certe cose, nel mondo vero non te le dice in
faccia. Anche se io lo preferirei. •

persone con disabilità perché vogliono far capire la loro Il testo integrale dell’intervista è pubblicato su Vogue.it.

Maria Grazia Chiuri, direttrice creativa di Dior, ha scelto Bebe Vio come ambasciatrice del brand mandandola sulla passerella
della collezione P/E 2017. In queste pagine Vogue Italia ha fotografato la ventunenne paralimpica di fioretto con abiti
della Cruise Collection di Dior. Qui sopra a sinistra, e nella pagina accanto. Abito bustier in tulle di seta con bustino ricamato
e borsa “Saddle” di pelle ricamata. Qui sopra a destra. Camicia di seta gessata e abito bustier in tulle di seta ricamato con pizzo.
Orecchino “Dior Tribales’’. In apertura. Cappello di rafia con ricamo floreale. In tutte le foto choker “J’Adior”. Tutto: DIOR.

69
 SO C I E TË

La Paura
Sul Filo

Da sinistra. Il manifesto di Lo squalo,

diretto nel 1975 da Steven Spielberg.
T-shirt che riprende l’affiche della
pellicola (in originale Jaws), dalla sfilata
della P/E 2019 di Calvin Klein.

Classico intramontabile, l’HORROR

(e le sue varianti gotico, splatter, dark)
è protagonista da brivido di collezioni,
mostre, cine-remake, libri fotografici.

di ANTONIO PRIVITERA

70 News vogue.it n. 819

 Il vero classico intramontabile? I cattivi, anzi i feroci –
più feroci sono meglio è. Un semprenero, dal Big Bang
ai giorni nostri, che respinge e affascina e che, magari
sottotraccia, pervade non solo la cronaca, ma la cultura
alta o bassa che sia. Va fortissimo l’horror di questi tem-
pi, a tutti i livelli. Giusto pochi mesi fa Francesco Risso
(34 anni) ha idealmente abbandonato i panni di fashion
designer per calarsi in quelli del Dr. Frankenstein. Nel-
la collezione P/E 2019 di Marni, Risso è un alchimista
che riporta in vita degli ibridi tozzi antropomorfizzati.
«Ho creato dei rottami umani, mostri scultorei, dolci
e fondamentalmente perturbanti», conferma candida-
mente. «Negli horror le emozioni vengono ingigantite
e sbandano verso rotte impensate. Allo stesso modo, ho
immaginato che durante il mio processo creativo qual-
cosa andasse storto». Lo strano caso di Risso è partito
con un autosabotaggio: ha innescato un imprevisto ine-
sistente, che cambiava radicalmente il senso delle cose e
«perciò mentre disegnavo, ho voluto far variare in modo
coattivo il percepito di ogni indumento. Basta guardare i
biker ibridi di quest’ultima stagione». Intanto al cinema
arrivano film horror che toccano problematiche attua-
lissime, e lo fanno con grande forza visuale. Da “Scappa
- Get Out”, pellicola anti-Trump vincitrice di un Oscar, a
“Hereditary - Le radici del male” (2018), che affronta la
malattia mentale, l’horror è diventato un mare magnum
cui anche i personaggi più inaspettati attingono citazioni
più o meno palesi.
Ma è Alessandro Michele a dare sempre nuove forme al
sodalizio tra horror ed estetica, sfidando a testa alta tanto
il dark quanto il concetto di buon gusto. Una teatralità
funerea ha caratterizzato anche l’ultima presentazione
lo squalo foto everett collection/contrasto. ck foto giovanni giannoni/courtesy ck.
parigina, in cui i suoi “gloriosi reietti”, come li chiama il
designer, hanno sfilato al Théâtre Le Palace. Ha aperto
lo show un video manifesto dalla stagione del “teatro del-
le cantine romane” degli anni Settanta: un estratto da “A
Charlie Parker” – film omaggio alla vita del sassofonista
in chiave mistica e dannatamente onirica. «Sono osses-
sionata dal lavoro di Alessandro Michele», confessa la
celebrity-stylist Bea Åkerlund (1975), “gran maestra” del
goth. «La sua interpretazione di Gucci è a dir poco cele-
stiale. Dal mio punto di vista, il risultato è così d’impatto
perché Alessandro interpreta il culto horror con combi-
nazioni cromatiche molto esasperate». Un patto esteti-
co che il marchio italiano ha per altro suggellato con il
libro fotografico “Disturbia”, ispirato a tre film di Da-
rio Argento (“Suspiria”, 1977, con remake 2018 di Luca
Guadagnino; “Inferno”, 1980, e “L’uccello dalle piume di
cristallo”, 1970), e scattato da Peter Schlesinger a Roma.
Per Bea Åkerlund, moglie del regista Jonas, l’attuale os-
sessione per il macabro è dovuta anche alla malleabili-
tà del genere. «Io per esempio associo l’attitudine tetra
all’ironia, sia nella sfera privata sia nel lavoro. Nonostan-
te viviamo in una casa tutta nera, con le nostre bimbe e
il gatto Sphynx, in noi c’è sempre una lettura scherzosa
del tema», conclude mamma Bea. Troviamo ancora un
fondo d’ironia, seppure dispettosa, anche nel profilo In-
stagram Skstudly, l’account splatter del fotografo Steven
Klein: un album crudo composto da immagini estrapo-
late da film-culto del genere – “Volto di donna” (1941),
“Maps to the Stars” (2014), “Un lupo mannaro ameri-
cano a Londra” (1981), ma anche B-movie come “Tre-
mors” (1990) e “La bambola assassina” (1988). «Il profilo
Instagram nasce dal fatto che trovo terrificanti le foto del
cibo che la gente continua a postare ogni giorno», con-
fessa Klein. «È una reazione diretta a ciò che vedo. Per
me quello è horror».
Pare che sia un cultore di scary movies pure Raf Simons,
che per Calvin Klein nella P/E 2018 ha avuto come refe-
renze “Carrie” (1976 e remake nel 2013) o “Rosemary’s
Baby” (1968). E nella più recente P/E 2019 poggia le
sigle CK sulla locandina di “Lo squalo” (1975) di Spiel-
berg. Ma è “Shining” (1980) di Kubrick ad avere con-
taminato le collezioni dei brand di ultima generazione.
Un rimando al film è ricamato a mano con microperline
sulla borsa P/E 2018 di Marco De Vincenzo, che omag-
gia le celebri gemelline; così come ha fatto – ancor più
esplicitamente con un total look – anche Undercover:
stesso film, stessa stagione. «Quando vivevo in Sicilia
molti cinema all’aperto proiettavano in estate i thriller
che hanno fatto storia», dice De Vincenzo. «Ecco perché
ho citato Kubrick. L’horror ha un’estetica assolutamente
indelebile e segna la memoria attraverso la paura, un sen-
timento che non amo nella vita, ma che al cinema invece
trovo elettrizzante».
Per assaporare le stesse emozioni febbrili che hanno se-
gnato De Vincenzo in quel di Messina, la David Zwirner
Gallery di New York propone “Untitled”, l’ultima serie
di scatti cui ha lavorato Diane Arbus fra il 1969 e il ’71.
La fotografa amica di Kubrick è infatti la vera inventrice
delle sorelline di “Shining”, nate per mitosi dalla stori-
ca fotografia “Identical Twins” del 1967. Grazie ai suoi
soggetti inquietanti, Diane Arbus (1923-1971) ha aperto
le porte, in tempi non sospetti, alla giustezza dell’imper-
fezione e della diversità dimostrando che la paura forse è
solo una suggestione che l’arte, da sempre, prova a smi-
tizzare. Del resto, «si scattano immagini inquietanti per
esorcizzare le paure più profonde» e c’è da fidarsi se a
dichiararlo è la fotografa e regista Floria Sigismondi (53
anni), che celebra quest’anno il ventennale dall’uscita di
“Redemption”, libro fotografico – tra i tanti protagonisti
pure David Bowie in versione rettiliana – considerato il
vademecum del thriller pensato con funzione catartica.
«Oggi ci sentiamo tutti indifesi e impotenti; senza un
controllo rispetto a ciò che ci accade. Ecco spiegato co-
me mai, in questa precisa fase storica, l’horror sia tornato
con prepotenza a venire considerato una delle più grandi
forme d’arte». •
71
 L’E V E N TO

Infinite
Possibilità

A Milano, la terza edizione del PHOTO

VOGUE FESTIVAL si interroga sul
moderno significato di bellezza. E sui suoi
limiti, esplorando diversità e generi.

Torna a Milano il Photo Vogue Festival, la

rassegna internazionale con oltre 30 eventi,
tra mostre e talk, che indaga l’influenza della
fotografia sui modelli estetici della nostra so-
cietà. Presieduta dal direttore di Vogue Italia
Emanuele Farneti e diretta dalla visual director
Alessia Glaviano, questa terza edizione si con-
centra sulle infinite possibilità e sui limiti dello
sguardo. Perché, come dice il fotografo Wolf-
gang Tillmans, «bisogna fare attenzione alla
parola bellezza: usata in senso assoluto diventa
un concetto restrittivo, che esclude. La bellezza
è ciò che riteniamo accettabile nella società; la
ricerca sta nello spostare i limiti». La collettiva
“Embracing Diversity”, allo spazio Base Mi-
lano, con i lavori selezionati sulla piattaforma
PhotoVogue invita a riflettere sulla diversità in
ogni sua espressione: fisica, di genere, geogra-
fica o culturale. Mentre “All That Man Is - Fa-
shion and Masculinity Now”, stessa sede, legata
a “L’Uomo Vogue”, s’interroga sulla mascolini-
tà oggi, attraverso la lente di 56 fotografi tra cui
Ben Toms, Charlie Engman e Paolo Roversi. A
Palazzo Reale, Sølve Sundsbø con “Beyond the
Still Image” ci trasporta nel suo universo imma-
ginifico; all’Armani/Silos, invece, “Italian Pano-
rama” raccoglie i più originali fotografi di moda
italiani, mentre “Labs New Artists II”, il pro-
getto di Red Hook Labs in collaborazione con
@guccibeauty, si tiene sempre a Base Milano. •

di FRANCESCA MARANI

Alcuni scatti in mostra

al Photo Vogue Festival,
di scena a Milano dal 15
al 18 novembre. Dall’alto:
Julia Fullerton-Batten, Dana
dalla serie Unadorned, 2012.
Ana Cuba, Nick dal progetto
You Checked Your Texts While
I masturbated, 2017. Elinor
Carucci, Evan Breastfeeds
His Son, 2016 (courtesy
Edwynn Houk Gallery).

72 News vogue.it n. 819

# A Ne w Re n a i s s a n c e
 VOGUE ITALIA PER HUAWEI

Design raffinato, tecnologia avanzata, attenzione alla creatività: sono questi gli ingredienti che contraddistinguono
Huawei, leader mondiale nel mercato delle telecomunicazioni, che con Huawei P20 Pro ha dato vita al
Rinascimento della fotografia da smartphone. Grazie alla sua tripla fotocamera, realizzata in collaborazione
con lo storico marchio Leica, e a una potente intelligenza artificiale, Huawei P20 Pro consente di scattare foto
di qualità professionale senza perdere l’autenticità del momento che si sta vivendo. Prendendo ispirazione da
questa rivoluzione di sguardo Vogue Italia e Huawei, mobile partner del Photo Vogue Festival, hanno lanciato
su Instagram lo scouting #ANewRenaissance invitando tutti i fotografi a misurarsi con l’interpretazione del tema.
Tra gli artisti che hanno preso parte all’iniziativa, Marco Imperatore, l’autore delle foto di queste pagine, si è
distinto per il talento e la chiarezza di visione. A lui sarà dedicato un talk in occasione del festival che si terrà
a BASE Milano venerdì 16 novembre. Nella stessa sede sarà allestita una mostra fotografica firmata Huawei e
distribuito un libro con i migliori scatti realizzati dai fotografi individuati attraverso lo scouting.

Foto di Marco Imperatore, styling di Deborah de Groot. Hair di Ezio Diaferia, make-up di Luciano Chiarello, manicure
di Carlotta Saettone. Set Design di Luigi Battaglia, modelle: Noah van de Biezen @ Brave, Jeske van der Pal @ Monster.
In apertura. Abito BROGNANO. In alto. Tutto BROGNANO. Nella pagina seguente. Abito STINE GOYA.

In un periodo in cui molti artisti stanno abbandonando
New York in favore di spazi di lavoro più economici a
Città del Messico e nel Nord dello Stato di New York –
e c’è ancora chi piange la morte della scena artistica del
Lower East Side –, si potrebbe fare l’errore di pensare
che la Grande Mela abbia perso il suo smalto.
Invece proprio nel cuore della Bowery, un gruppo di
artisti e curatori, figli d’arte, sta sperimentando nuove
strade. Condividendo gli spazi di una grande casa-studio
– comune, sì, ma che lascia a ciascuno il proprio spazio
– a due passi dal New Museum, il curatore Caio Twom-
bly, il fotografo Rafik Greiss e gli artisti Kai e Adrian
Schachter hanno dato vita a un fluido incubatore crea-
tivo: uno spazio in cui abitano, passano il tempo, fanno
vogue.it n. 819
L A FACTO RY
Per La Nostra
Strada
Si chiamano Twombly, Schachter, Greiss:
nomi importanti nel mondo delle gallerie.
Condividono casa e una sfida: dimostrare
di non essere (soltanto) FIGLI D’ARTE.
di SAMIRA LAROUCI
Accanto. L’artista Adrian
Schachter, 22 anni,
nella grande casa-studio
sulla Bowery, New York.
festa, dipingono, discutono del proprio lavoro.
«Siamo come i diversi rami di uno stesso albero», dice il
ventiduenne Adrian Schachter, che condivide lo spazio con
il fratello minore Kai. Figli del mercante d’arte, curatore e
artista Kenny Schachter e dell’artista diventata poi fashion
designer Ilona Rich, sono cresciuti in una casa in cui non
esistevano pareti bianche: ogni muro, compreso quello del-
la nursery, era ricoperto dalle opere d’arte della collezione
dei genitori, e i litigi erano incentrati sui pezzi che il padre
avrebbe voluto vendere. «Una volta Kai ha fatto una scena-
ta quando mio padre ha venduto un quadro di Dan Colen
fatto con escrementi d’uccello, che era stato nella sua stanza
per anni», ricorda Adrian.
Il suo lavoro – che interviene sull’artificialità di supporti
News 77
 plastici con pastelli umidi e strati di colore acrilico spessi
anche 15 centimetri che sembrano sculture – è gioco-
so ma complesso. Mentre quello di Kai è sperimentale
nell’affiancare pigmenti e pastelli con strati di pittura a
olio per raffigurare – in modo astratto, o più letterale
– omaggi alla pubblicità, alla clip-art e alla segnografia.
«Mi sento ispirato quando sono immerso nella natura e
posso osservare la bellezza e le forme create da madre
terra», dice Kai, «ma trovo anche stimoli negli annunci
pubblicitari sui bidoni della spazzatura e nelle immagini
pop e colorate appiccicate di fianco a una qualsiasi bo-
dega di New York».
Avendo vissuto tutti in modo intermittente tra Londra e
New York, ai membri del collettivo viene spontaneo fare
il paragone tra le due più importanti capitali dell’arte
contemporanea. «La scena artistica a Londra è molto
più elitaria», dice il fotografo ventenne Rafik Greiss,
«New York è molto più aperta e attraente per i giovani
emergenti». Cresciuto in Egitto durante la rivoluzione,
una madre artista, Rafik racconta come la turbolenta
atmosfera politica sia stata determinante nella scelta di
usare la fotografia. «Quando era impegnata in uno dei
suoi progetti, mia madre mi trascinava con sé in con-
testi disagiati come gli ospedali psichiatrici, e quando è
scoppiata la rivolta mi ha portato fuori a fotografare le
strade invase dai gas lacrimogeni, dove venivano sparati
colpi di pistola», racconta. In quel momento ha davvero
capito il potere della fotografia: «Per la prima volta sono
stato spinto fuori dalla mia comfort zone, e questa men-
talità continua a ispirarmi nel lavoro».
Da sinistra. Rafik Greiss, vent’anni, fotografo, Caio Twombly, curatore ventiduenne, e Kai Schachter, artista, ventun anni:
insieme ad Adrian, fratello di Kai, condividono una grande casa-studio a New York, sorta di incubatore creativo per le loro attività.
78 News
L’avere ereditato, tutti, la conoscenza del mondo dell’ar-
kai schachter: foto laurence tooley. caio twombly, adrian schachter, rafik greiss: foto rafik greiss. traduzione alice guareschi.
te di intere generazioni, non fa che aumentare la loro
motivazione. Come sottolinea Kai, «le persone entrano
in galleria determinate a odiare il mio lavoro, pensando
che le opere sono esposte lì solo per via di mio padre.
Questo finisce per diventare un ottimo stimolo per di-
mostrare che faccio sul serio».
In tre anni di vita insieme, i quattro hanno fatto sei mo-
stre collettive a New York e una a Londra, tutte curate
da Caio. «Essendo così giovane, è difficile che io pos-
sa essere esperto in qualcosa», scherza il curatore ven-
tiduenne, nipote di Cy Twombly e Tatiana Franchetti.
Nonostante la discendenza, l’arte non l’ha affascinato
da subito. Ripensando alla sua infanzia a Roma, ricorda
quando una volta, giocando a calcio, ruppe la cornice
di un piccolo lavoro di Yves Klein. «Mio padre non la
prese troppo bene», e poi aggiunge: «Paradossalmen-
te ho cominciato a interessarmi davvero all’arte dopo
aver lasciato il nido domestico, quando non mi circon-
dava più». Smanioso di usare la sua conoscenza, i suoi
contatti per entrare in relazione con artisti emergenti e
presentarli al pubblico, Caio ha curato collettive – mol-
te includono anche Kai, Adrian e Rafik – che hanno ri-
unito le opere di emergenti ma anche di già affermati
come Oprah Shemesh, Lily Gavin e Luca Grottoli. E a
proposito del collettivo, dice: «A casa nostra, ognuno è
motivato in tempi diversi: battere la fiacca non è quindi
un’opzione possibile. Ci stimoliamo l’uno con l’altro, in
una sana forma di competizione. Stiamo imparando a
capire l’arte tutti insieme, e uno dall’altro». •
vogue.it n. 819
© 2018 Chloé, all rights reserved.

Chloe.com
 L A STO R I A

Anche Mia,
L’Africa

Produrre il film premio Oscar tratto dal

libro di Karen Blixen era la sua ossessione.
Perché? ANNA CATALDI lo racconta a un
amico scrittore. E in un memoir in uscita.

di WALTER SITI*

A fianco. La giornalista
e scrittrice Anna Cataldi
(1939), ritratta da
Ugo Mulas per Vogue
Italia, novembre 1968.
Goodwill Ambassador
per l’Organizzazione
Mondiale della Sanità,
ha sposato in prime
nozze Giorgio Falk
da cui ha avuto tre
figli. Dal 1998 al 2006
è stata uno dei nove
Messengers of Peace
del Segretario Generale
delle Nazioni
Unite Kofi Annan.

80 News vogue.it n. 819

Anna Cataldi mi viene incontro avvicinandomi il viso
bello e infragilito dagli anni; siamo amici da un po’, ho
letto il suo libro quando era ancora manoscritto ammi­
randone l’aria poco italiana, la sobrietà da “never com­
plain”. Ci sediamo sul divano mentre il bassotto Blu
scodinzola e mi festeggia.
Il tuo libro, pubblicato ora da Rizzoli con il titolo “La coda
della sirena”, è un memoir che parla di come sei riuscita a
ottenere che si facesse un film a partire da “La mia Afri-
ca” di Karen Blixen e dalle biografie scritte su di lei. Le
memorie ti affascinano più dei romanzi di invenzione?
Certamente, in me c’è un desiderio di investigare, mi
ha sempre emozionato frugare nelle vite altrui, cerca­
re coincidenze… la mia passione è Lytton Strachey…
è come una caccia al tesoro, entri in una grotta e scopri,
scopri, è straordinario.
Si parla spesso dell’effetto terapeutico delle scritture di
memoria, vale anche per te?
Fare l’indagatrice, come dicevo, per me è una terapia
purché non indaghi su di me, anzi (una pausa, un sor-
riso doloroso e infantile) io ho una sofferenza a parlare di
me… questo libro l’ho voluto scrivere soprattutto per
lasciare qualcosa alle mie figlie e ai miei nipoti, per ri­
dare loro un pezzetto della vita di quand’erano ragazzi,
e ho potuto farlo perché tenevo i diari… il libro serve
a riparare qualcosa che non c’è più, soprattutto perché
allora Giovanni (il figlio maggiore, morto a 28 anni in un
incidente subacqueo) era ancora vivo…
La Anna del libro sembra ossessionata da questo “film
da farsi”; da che cosa derivava questa spinta così forte?
Da che stavi fuggendo?
Ero ingenua, sprovveduta… prima di questo, a parte i
miei figli, non avevo combinato niente di significati­
vo… riuscire a produrre il film era un modo per dire
“ce l’ho fatta”, di qualunque impresa si fosse trattato.
Hai trovato nella vicenda della Blixen qualcosa che ti
somigliava?
Sì (esita), forse una caduta, un disastro… ero in un mo­
mento molto difficile della mia vita (si riferisce a Giorgio
Falk, il primo marito a cui accenna nel libro: «Ho divorziato
e tutto è rimasto a lui, è riuscito a portarmi via anche due
figli») e mi sono identificata con la Blixen quando rac­
conta nelle lettere di avere perso tutto… l’ho letta come
una storia di resistenza.
Che rapporti avevi fino a quel momento con il mondo
del cinema?
Zero. Badavo ai divi, al regista… è stata Audrey (Hep­
burn, ndr) a dirmi «devi vedere anche chi ha fatto le sce­
ne, i costumi, la sceneggiatura, la musica, sono cose molto
importanti»… da allora ho cominciato ad andare al cine­
ma da sola come se facessi i compiti, mi segnavo tutto…
Eri amica della Hepburn, di Zeffirelli, con Polanski scia-
vi a Gstaad… questa rete di amicizie non ti ha aiutato?
Zeffirelli voleva trascinarmi nel suo “Gesù” come Ma­
ria Maddalena, farmi camminare a piedi nudi con una
brocca in testa… ma nell’impegno del film le amicizie
mondane invece che aiutarmi mi hanno piuttosto osta­
colato, mi prendevano per una “social butterfly” e mi
dicevano «noi facciamo un lavoro serio, non ti immi­
schiare», ho ricevuto tante umiliazioni.
Tra le persone incontrate nei sette anni di tentativi, chi
ricordi con più piacere?
Charles Pick, il direttore della casa editrice Heinemann,
uno dei pochi che mi ha preso sul serio… e poi Errol
Trzebinski (autrice di “Silence Will Speak”, storia dell’amo-
re tra la Blixen e Denys Finch Hutton) che ora vive sull’i­
sola di Lamu… con lei siamo rimaste molto amiche, è
venuta a trovarmi in Toscana… e Stephen Grimes, l’art
director che abitava a Trastevere.
Quanta è stata la gioia quando “La mia Africa”, con
quel cast stellare e gli Oscar, è finalmente uscito?
È stata un po’ rovinata dalle malattie: non ho potuto
andare a Hollywood per la prima e stavo alla clinica
Mangiagalli quando il film è stato presentato alla regi­
na Elisabetta… non ho potuto nemmeno avvisare ed è
sembrato che snobbassi la regina.
Sei più tornata in Kenya?
Non è più lo stesso… il Norfolk Hotel, che era charmo­
sissimo, quando l’ho visto l’ultima volta tra tutti i gratta­
cieli mi sembrava un Pizza Hut californiano. Sono andata
nel 1992 per passare da lì in Somalia dove c’era Audrey,
poi è cambiato tutto. Se non avessi fatto la follia di voler
realizzare questo film, la mia vita sarebbe stata diversa.
Con l’understatement che le è solito allude al successivo
impegno umanitario, che dalla Somalia l’ha portata a
Sarajevo, poi in Cecenia, poi a diventare messaggera di
pace per le Nazioni Unite e giornalista per molte testate
italiane e straniere; ma ci aspetta una zuppa di pollo al
curry e latte di cocco, e l’intervista è finita. •
*Scrittore, 71 anni, ha appena pubblicato il romanzo Bontà (Einaudi).
In La coda della sirena
(Rizzoli), Anna
Cataldi racconta
il percorso che l’ha
portata a produrre
il film La mia Africa,
vincitore di 7 premi
Oscar nel 1986.
81
 I M AG E R I E S

In Bianco
E Blu

La moda è linguaggio, modo di vestire che

MONICA BOLZONI declina in una serie
codificata di forme. Ora una monografia
le ordina secondo un glossario di parole
chiave che diventa vocabolario personale.

di MARIUCCIA CASADIO

Collare plissé in
lamé dorato con
ampio fiocco, 2000.
Nella pagina a
fianco, da sinistra.
Pubblicità su Vogue
Italia, dicembre
1990, per l’opening
dello spazio Bianca
e Blu a Tokyo,
artwork di Luca
Stoppini su foto
di Albert Watson.
In uno scatto di
Donna De Mari
da Lei, dicembre
1989, a sinistra,
un abito da sera di
seta a più strati di
Bianca e Blu.

82 News vogue.it n. 819

 Una monografia in forma di glossario è la perfetta qua-
dratura del cerchio. Dedicata a Monica Bolzoni e al suo
storico marchio Bianca e Blu, protagonista della scena
milanese anni Ottanta e contributo sui generis alla storia
locale e internazionale della moda, trascende cronologie
e modelli in ordine di apparizione, per privilegiare in-
vece una sequenza alfabetica di parole chiave. Nomi co-
muni e nomi propri, di persona, di città o di altri brand,
sostantivi e aggettivi, definizioni di tecniche, pattern o
colori, titoli e sigle di opere, performance, installazioni o
progetti espositivi, icone di stile e figure d’artista, art di-
rector o copywriter, che l’approccio alla moda di Monica
Bolzoni liberano dai vincoli del tempo e dai suoi pro-
dotti. Date di fatti, stagioni o collezioni che passano in
secondo piano, per trasformare il libro “Monica Bolzoni
- Bianca e Blu” (a cura di Davide Fornari, ed. écal, Lo-
sanna-Rizzoli International, in uscita a marzo 2019) in
un vocabolario personale. Lo scheletro portante di una
visione del vestire che diviene modulare articolazione
di forme e motivi, moduli e modelli, referenti e ricordi,
esperienze e ispirazioni. Un linguaggio che genera da
ciò che “c’era già”, con accezioni femminili e maschili,
ricercatamente ambiguo, ovvero anche versatile, aperto
a infinite interpretazioni e declinazioni, all’origine di un
progetto e di un marchio, Bianca e Blu, con sua omo-
nima indimenticabile boutique-atelier in via De Amicis
53, e informato da un’appassionata e appassionante ap-
propriazione di étant donné.
Archetipi della moda, figure e forme paradigmatiche,
che spaziano dal basic al tailoring, e dal vichy al pan-
no Lenci, al pvc, evocando Chanel e Roger Vivier, Po-
iret e i maestri del costume design hollywoodiano, non
senza mettere a frutto le innovazioni di Elio Fiorucci
o di Comme des Garçons, per dare vita a un canone
contemporaneo, sofisticato e sintetico di eleganza. Un
tutte le foto da monica bolzoni - bianca e blu, écal, losanna-rizzoli international.
modo di vestire che si declina, da Grace a Brigitte, e da
Cinderella a Suzie Wong, in una serie codificata di fog-
ge, realizzate in materiali diversi, ordinate per colore su
rack e ripiani, che rimbalzano e si riflettono all’infinito
nel “magic box” tappezzato di specchi dell’archivio-bou-
tique-atelier Bianca e Blu. Per lungo tempo una tappa
obbligata dello shopping milanese postmoderno. E
BBLand (aperto nel 2009), di un modo unico di vestire,
uno statement di stile capace di attrarre e conquistare un
pubblico femminile vasto ed eterogeneo. Ma anche e so-
prattutto un osservatorio, un luogo di studio e di ricer-
ca, nel quale la memoria e i codici della moda appaiono
liberi di incontrarsi, intrecciarsi, reinventarsi all’insegna
di un intrigante democratico pick-and-mix.
«Leggo questo libro», osserva Monica Bolzoni, «come
un ponte gettato tra la mia storia di fashion designer e
l’attuale processo di culturalizzazione della moda, tra il
mio sentire e quello di chi indossa i miei abiti, tra passato
e presente. Non puoi fare una cosa nuova se ti riferisci a
ciò che esiste già, però puoi formulare un concetto nuo-
vo. Non ho mai fatto oggetti nuovi, mi interessava una
diversa modalità, un recupero». Tra scientificità e gioco,
creatività e comunicazione, memoria collettiva e inter-
pretazione personale, il modo di vedere di Bolzoni pren-
de forma sul filo di due illuminanti deduzioni. Da un
lato, lo statement «le memorie dovrebbero essere tra-
sformate in progetti» di Pierre Bergé e, dall’altro, quello
di Paul Klee «io sono il mio stile», che perfettamente ne
definiscono lo spirito e il programma. Una ricerca che
mette a frutto il passato, ma si nutre dell’energia e vitali-
tà del suo tempo. Tra collaborazioni con Manuela Pavesi
o Miuccia Prada. E interazioni, in tempi non sospetti,
con il lavoro di artiste come Vanessa Beecroft, Claudia
Losi o Letizia Cariello. Incontri di corpo e abito, este-
riorità e interiorità in opere a sua perfetta misura. •
83
 LIBRI

C’è Più Gusto

In Italia Tutto è cominciato nella cucina d’infanzia, dove ogni tavola era una
miscellanea di ispirazioni, sapori e profumi. Così le food writer Skye

Un legame speciale con il nostro Paese
accomuna la storia e il successo di SKYE
MCALPINE e MIMI THORISSON
e dei loro ricettari di nuova generazione.
di LAURA TACCARI
foto courtesy: per skye mcalpine ben cohen, per mimi thorisson, oddur thorisson.
McAlpine e Mimi Thorisson hanno appreso non solo l’arte del buon
cibo e del ricevere, ma anche la consapevolezza nell’accostare ingre-
dienti provenienti da culture lontane. Entrambe baciate da un desti-
no che, un po’ per caso, un po’ per desiderio, le ha portate a vivere
nel Nord Italia, si sono affermate in rete (e non solo) quali interpreti
visionarie della nostra eredità gastronomica. Da Londra, Skye è ar-
rivata a Venezia con la propria famiglia per quella che doveva essere
solo una parentesi, e non è più ripartita. Fondatrice del blog From
My Dining Table, ha da poco pubblicato il suo primo libro “A Table
in Venice: Recipes from My Home”, edito da Bloomsbury, e sta la-
vorando ad alcune cooking classes per far scoprire il volto edibile
della laguna attraverso liturgie tratte dalla propria quotidianità. An-
che i workshop che Mimi, nata a Hong Kong, cresciuta tra Parigi e il
Sud della Francia e ora cittadina torinese, organizza sono avventure
culinarie che riflettono lo stile del suo blog Manger, curato a quattro
mani con il marito, il fotografo Oddur Thorisson. Narrazione onli-
ne che assumerà la dimensione cartacea con “Old World Italian”,
in uscita in America nel 2019 (Random House), che ci accompagna
in un viaggio compiuto dai Thorisson attraverso alcune regioni, dal
Piemonte all’Abruzzo, alla ricerca della grande bellezza di un Paese
che a volte apprezziamo attraverso occhi stranieri. •

Qui sotto da sinistra. L’inglese, veneziana d’adozione, Skye McAlpine, 34 anni, fondatrice del blog From My Dining Table e Mimi Thorisson,
45 anni, francese, nata ad Hong Kong, da un anno risiede a Torino e cura il blog Manger (nella foto la vediamo contemplare un’orange cake).
Entrambe hanno dedicato all’Italia un libro in uscita: si tratta di Table in Venice: Recipes from My Home di Skye e Old World Italian di Mimi.

84 News vogue.it n. 819

 L A M OST R A
Il Banchetto
Ottico
FOOD PHOTOGRAPHY e social network:
oggi quasi un’indigestione. L’antidoto?
Un’esposizione di scatti d’autore in Olanda,
con sapidi esiti del voyeurismo à la table.
di PAOLO LAVEZZARI
Fishy Donut Divers della serie Things “R” Queer (2015) del fotografo americano Joseph Maida. L’effetto perturbante delle sue
foto, in mostra al Foam di Amsterdam, è dato dallo stacco tra la tecnica documentaria e i soggetti dalla sgargiante estetica pop.
Tutto comincia nel 2017 con il libro “Feast for the Eyes:
The Story of Food in Photography”. Poi l’idea è lievita-
ta e l’autrice Susan Bright (49 anni, australiana in sede
stabile a Parigi) lo ha tradotto in una mostra realizzata
dalla Aperture Foundation di New York che a dicembre
approda al Foam, il museo della fotografia di Amster-
dam (dal 20/12 al 6/3/2019). Rare, golose, strane, sor-
prendenti, glam: le foto che Bright ha selezionato sono
la più esauriente esplorazione ragionata, non semplice
catalogazione, di come il cibo sia un soggetto che con-
tinuamente ispira fotografi dalle più diverse poetiche.
E se la food photography è oggi epidemica – complici
hashtag come foodporn, softbrunch, smoothe, carboidra-
tiviamo e applicazioni come SnapFood per immortalare
86 News
al meglio qualsiasi pietanza –, libro e mostra vengono a
proposito per ricordare quanto il tema fosse già caro ai
pionieri della fotografia: come si vede nelle nature morte
di gusto seicentesco realizzate dal britannico Roger Fen-
ton (1819-1869), in perfetto contrasto con le indagini, al
limite dell’astrazione, sulle forme di frutti e verdure di
Edward Weston negli anni Venti. Nell’oggi tutto a co-
lori, in cui chiunque può rendere immortale l’effimero
edibile tramite pixel, le sgargianti policromie analogiche
di Nickolas Muray già annunciavano il kitsch contempo-
raneo di Martin Parr. Mentre le nature congelate (lette-
ralmente) o marcescenti di Irving Penn aggiungono un
brivido d’autore, un “memento mori” che Nobuyoshi
Araki ha moltiplicato all’infinito via Polaroid. •
vogue.it n. 819
 L’I N T E RV I STA

Mettendoci
La Faccia

Dalle performance a petto nudo e

tacchi a spillo allo smoking bianco
dell’ultimo sofisticato video. Un anno
di MÅNESKIN, senza timidezze.

di ELISABETTA CAPROTTI
foto di GIOVANNI CORABI

I Måneskin: dall’alto
in senso orario. Ethan
Torchio, 18 anni appena
compiuti, Thomas Raggi,
17, Damiano David, 19, e
Victoria De Angelis, 18.
Il loro album d’esordio,
Il ballo della vita (Sony),
è uscito il 26 ottobre,
preceduto dal docufilm
This Is MŒneskin scritto
dalla band, che racconta
la loro storia. Il secondo
tour parte il 10 novembre
ed è già sold out.

88 News vogue.it n. 819

 Chi ha voluto vedere nei trasformismi da palco di Da-
miano David, frontman dei Måneskin, una versione ri-
veduta e corretta del glamour anni Settanta, corredato
da stati lisergici e sessualità psichedelica, dovrà trovare
un’altra casella in cui sistemarli. Nel gender fluid del Ter-
zo Millennio, questa band di teenager romani lanciati da
X Factor, capaci di tenere saldamente la scena e fare sold
out in meno di sei ore al primo tour, ha infatti la consa-
pevolezza che per dare il massimo bisogna essere lucidi:
«Non cadiamo nello stereotipo della rockstar alcolizzata
e drogata. Il messaggio che vogliamo diffondere con la
nostra musica è l’esaltazione dell’uomo tramite la propria
libertà. La creatività viene da una mente sana. Allenata.
Lucida. Il cervello è una macchina che deve avere gli in-
granaggi a posto e la droga una zozzeria. Gli artisti che
ne hanno fatto uso, come Amy Winehouse e il club dei
27, sono dei grandissimi con una sola nota stonata. Noi
stiamo facendo una strada dove mettiamo cuore e anima,
qualsiasi cosa ci ostacoli la evitiamo».
Questione di stile (e di look). Damiano si è mostrato con
maglie a rete, tacchi a spillo e movenze da peep show
londinese ma anche gipsy, insieme agli altri componenti
della band, adorno di accessori, collane feticcio, gioielli.
«A volte rubo a Victoria gli orecchini che lei non mette
più». Ma nel nuovo video “Torna a casa”, ricco di atmo-
sfere sognanti e stucchi barocchi, già cambia personaggio
(La regia è affidata all’immaginario magico e fanciullesco
del videomaker Giacomo Triglia, il set è Villa Arconati,
alle porte di Milano). Garbato nel suo smoking bianco
le foto di questo servizio sono state scattate sul set di vevo live.
disegnato da Stella McCartney, Damiano, con i suoi 19
anni, è l’“anziano” del gruppo e l’autore dei testi; seguo-
no Victoria, la bassista, mezza danese, a lei si deve il nome
del gruppo, che significa “chiaro di luna”; Ethan, il batte-
rista dall’estetica cherokee e nome straniero «solo perché
mia mamma era in fissa con Ethan Hawke»; e Thomas, il
chitarrista adolescente che fino al prossimo anno avrà bi-
sogno degli speciali permessi per minorenni per lavorare
nel mondo dello spettacolo.
Come nascono le vostre scelte di stile?
Damiano: Chiedi a Vic che è l’esperta. Suo papà è sem-
pre vestito per bene, un precisino.
  Nella pagina accanto. Dall’alto in senso orario. Ethan: camicia in crêpe di seta. Thomas: monopetto in tela di lana con revers in raso di seta e camicia
in crêpe de chine di seta. Damiano: doppiopetto gessato in tela di lana, camicia in popeline di cotone, cravatta di seta e spilla in metallo dorato con moti-
vo corona. Victoria: doppiopetto gessato in tela di lana e camicia smoking in popeline di cotone. Tutto DOLCE&GABBANA. Styling Rebecca Baglini.
Victoria: Be’, sì ci tiene, è il classico signore in comple-
to e camicia su misura. Ma non ho copiato da lui. Negli
anni ho attraversato periodi dark, punk, hippie. Quando
abbiamo cominciato a suonare, poi, è lì che ci siamo
influenzati a vicenda.
Dove acquistavate gli abiti all’inizio?
A Porta Portese: camicie tutte colorate, dalle fantasie
bizzarre, un po’ rétro. Poi ci siamo passati un po’ di tut-
to. Thomas metteva le giacche di Damiano. Damiano le
camicie di Ethan. Tutto è intercambiabile tra noi.
Ora invece avete una stylist personale.
Sì, ha imparato a conoscerci e su quattro cambi che por-
ta tre li azzecca. Ma non siamo esperti di moda, e infatti
le chiediamo sempre: di chi è questo o quell’altro capo?
Che idea avete del gender fluid e dei diritti Lgbt?
La sessualità è parte di una persona, ognuno è libero
di esprimersi senza paura fino a quando non rischia di
limitare la libertà dell’altro.
Damiano, cos’è la bellezza?
Gli obiettivi rendono bella una persona. Lo spessore, la
sensibilità, la correttezza, l’empatia. Dare amore ed emo-
zioni positive agli altri è bellezza. Amore non in senso
romantico, piuttosto quello familiare che provo per Vic,
Ethan, Thomas, i miei amici, mio fratello, la mia gatta.
Come e dove trovate la vostra creatività?
Siamo ultrastimolati in questo periodo. Stare in tour in
luoghi diversi aiuta a buttare giù melodie nuove. Nel
nostro lavoro la cosa più bella è lo scambio con le perso-
ne. Quando vedi qualcuno che ti guarda come se non gli
sembrassi vero ti trasmette tanto. Diamo e riceviamo.
Nel vostro ultimo disco c’è un nome che ricorre in quasi
tutte le canzoni: “Marlena”.Chi è?
Marlena è la nostra idea di giovinezza. Gli abbiamo dato
un corpo, un volto e una voce per renderla più potente.
Noi viviamo tutto con il sorriso e con ingenuità, come
se fossimo su una grande giostra sulla quale divertirci.
E divertendoci vogliamo essere ricordati dalle persone
per aver diffuso un messaggio positivo.
Damiano, sul palco ti emozioni?
Sto in una mia bolla. Mi piace esibirmi. Mi stacco dal-
la realtà ed è un momento molto personale. Sul palco si
piange, si ride ed è pazzesco vedere altri che si emoziona-
no per la stessa cosa, anche se non ci si è mai incontrati. •
89

Lorenzo Mieli (45 anni), produttore cinematografico e televisivo. A lui si devono anche
fortunate serie tv come La mafia uccide solo d’estate, Romanzo famigliare e The Young Pope.
Noi che facciamo “X Factor” ci sentiamo dire spesso una
cosa bella: questo programma racconta un paese abitato
da ragazzi che non si vedono quasi mai in tv. Ragazzi evo-
luti, creativi, colti, preparati, coraggiosi. Ragazzi arrivati
da lontano oppure italianissimi anche se non lo sono per
la legge. Ragazzi gender fluid. Ragazzi che sognano anche
se a volte il futuro fa paura. Guardandoli, allora, il pub-
blico si fa domande per noi fondamentali: «Ma davvero
questo ragazzo ha 16 anni? Ma come lo hanno trovato?».
Ora, io di questo vorrei parlare: di come lo abbiamo tro-
vato e di cosa non abbiamo ancora fatto per lui.
Sette anni fa, quando mi è venuto in mente di portare
“X Factor” da Rai 2 a Sky, non avevo mai visto un ta-
lent show. Pensare che una corazzata mainstream potesse
funzionare nella nicchia della pay era un azzardo. Ma se
dovessi ridurre il mio lavoro a un’immagine, ne userei una
del “Piccolo Principe”: il serpente che inghiotte l’elefante
e diventa un cappello. Ecco, io per lavoro faccio cappelli.
Cerco sempre di mettere nel contenitore un contenuto
che viene da altri mondi per trasformarlo. E per farlo
cerco di portare al cinema, in tv (e su Netflix, Instagram,
tutti i media) artisti e prodotti che creino caos nel siste-
ma, evolvendolo. Sette anni fa, da analfabeta dei talent,
ho capito che un programma come “X Factor” è sempre
a un bivio. Può essere tv normale o un luogo perfetto di
90 News
I L P E RSO N AG G I O
Noi, Visti
Da Qui
Non solo Måneskin. Se c’è un luogo
televisivo dove osservare come sono
cambiati i ragazzi italiani – per gusti, stile,
colore della pelle – questo è X FACTOR.
Come spiega a Vogue Italia il produttore.
di LORENZO MIELI
passaggio di elefanti interessati solo alla musica. Noi ab-
biamo scelto quest’ultima strada, la più rischiosa: il nostro
talent per essere autentico doveva essere fatto da gente
che voleva solo scrivere canzoni o cantarle. Gente che
dalla tv ci passava, ma con l’idea di uscirne al più presto.
A cominciare dai giudici. Per questo Morgan funzionava:
un artista geniale che metteva in scena senza censure la
sua lotta contro la tv. Come Fedez, Mika, Manuel Agnelli,
Asia Argento. Tutti elefanti che volevano diventare cap-
pelli. E tutti con lo scopo di trovare là fuori ragazzi con
un talento eccezionale e basta.
Quel ragazzo di 16 anni l’abbiamo trovato così, andando
a caccia di elefanti. Ma visto che se un produttore scrive
bene del suo programma si compiace inutilmente, voglio
dire anche quello che non va. Per fare sì che questa caccia
foto courtesy fremantlemedia italia.
si mantenga autentica e non diventi maniera, dobbiamo
prenderci fino in fondo una responsabilità: il futuro di
quel ragazzo. Sono anni che ragioniamo su questo. Su
cosa faranno non solo i vincitori, ma tutti i più bravi, ori-
ginali, delicati, fuori dal mondo protetto di “X Factor”. Ci
aiutano i giudici, e gli agenti, i manager e i discografici,
ma non basta. Sento che dobbiamo fare ancora tanto. An-
cora una volta “X Factor” è a un bivio. E, perché l’elefante
non finisca digerito dal serpente dello showbiz, anche sta-
volta dobbiamo scegliere la strada più rischiosa. •
vogue.it n. 819
 Collezioni Move con Gigi Hadid E -S H O P : M E S S I K A .C O M

# Dia m o n d A d dic t io n
Camila Coelho
@camilacoelho

MILANO - Via della Spiga | ROMA - Via Bocca Di Leone 4 | NAPOLI - Via Filangieri 15/c
TORINO - Via Lagrange 1 | VENEZIA - Via Calle Larga XXII
FASHION SILVER JEWELRY

www.apm.mc
 NATURAL
BELLA E SOSTENIBILE, ETICA
E PREZIOSA: LA MAGIA DELLA
̀ IRRESISTIBILE.
PELLICCIA E

WONDER
La pelliccia: adorata da tempo immemore, è la fibra più
naturale in assoluto, riconosciuta per la sua eleganza
innata, il suo calore, la sua sontuosità.
Oggi, nel XXI secolo, c’è un’altra ragione fondamentale
per cui la generazione più giovane torna a scegliere la
pelliccia: l’allarme crescente per l’ambiente che tutti
condividiamo. La preoccupazione maggiore riguarda
l’impatto della plastica sui nostri oceani e sulla Terra,
il prezzo che l’ambiente paga all’inquinamento: per
questo motivo le nostre scelte, da cosa indossiamo
a quello che consumiamo, al nostro stile di vita,
diventano più importanti che mai.
In quest’epoca di “fast fashion” in cui le pellicce
sintetiche realizzate con materiali chimici invadono
i mercati e poi restano a lungo nelle discariche, una
pelliccia rappresenta il rifiuto assoluto della filosofia
usa-e-getta. Un cappotto di pelliccia che si è amato
negli anni viene spesso “passato” dalla nonna alla
mamma, fino alla figlia cool e moderna, e se nei vari
passaggi viene anche trasformato e reso più moderno,
meglio ancora! Ma non c’è nulla di più emozionante del
momento in cui vediamo per la prima volta le nostre
iniziali ricamate sulla fodera in raso della nostra pelliccia.
E quando questo capo tanto amato e decisamente
earth-friendly dovrà essere scartato – il che avverrà
comunque dopo molti anni d’uso – sarà completamente
biodegradato nel giro di pochi mesi. Ma prima che
questo avvenga la giovane donna consapevole,
splendida nel suo cappotto di zibellino, maliziosa in
visone, o fiera con un capo in volpe, rappresenta la sintesi
dello chic responsabile: una consumatrice informata che
fa scelte etiche conservando un look fantastico. CAROLINA HERRERA
ELIE SAAB
 L’Appartamento

98 vogue.it n. 819
Photos by ROSI DI STEFANO Styling by LUCA GALASSO

Code
99
  Sotto. Querelle Jansen @ NY Model Management: cappotto over di lana lavorazione jacquard PATRIZIA PEPE; dolcevita PINKO; gonna di pelle ATTICO; pantaloni palazzo
di sablé stretch VALENTINO; borsa “Diana” di pelle two-tone MANDARINA DUCK; tracollina con pattine intercambiabili CARPISA; slingback di pitone roccia CIVIDINI.

100 Code vogue.it n. 819

  Sotto. Cappotto di pelle MASSIMO DUTTI; dolcevita e pantaloni di pelle sintetica FRACOMINA; cintura di cuoio ORCIANI; borsa “Lucrezia” di pitone con livrea
BIANCHI E NARDI 1946; orecchino ATTICO.  In apertura. A sinistra. Cappotto in tweed di lana SHIRTAPORTER; bomber oversize di pitone GUCCI; gonna BEATRICE
B; pantaloni palazzo di sablé stretch VALENTINO; slingback di pitone roccia CIVIDINI; orecchino ATTICO; borsa di vitello RODO. A destra. Cappotto di faux fur LIU JO;
cintura di pitone ORCIANI; borsa rigida di pelle sintetica GIO CELLINI; occhiali rettangolari di metallo GUCCI; orecchini GIOVANNI RASPINI.

101
  Sotto. Doppiopetto di pelle ANTONIO CROCE; camicia e abito stampa foresta BIMBA Y LOLA; pantaloni MSGM;
slingback di pitone roccia CIVIDINI; borsa di pelle sintetica FURLA.

102 Code vogue.it n. 819

  Sotto. Trench in gabardine di cotone MSGM; abito asimmetrico di tessuto fluido MANGO; pantaloni a gamba larga SEVENTY;
stivali di pelle e orecchini MSGM; borsa “Messenger” di pelle con grana effetto paglia GHERARDINI.

104 Code vogue.it n. 811

 Il nuovo lusso ?
Dare al tuo guardaroba
una seconda vita
VENDERE È TRÈS CHIC

ARTICOLI DI MODA DI LUSSO PRE-OWNED AUTENTICATI, VENDUTI DALLA NOSTRA COMMUNITY

VESTIAIRECOLLECTIVE.COM
  Sotto. Trench di pelle sintetica ALVIERO MARTINI 1A CLASSE; giacca e pantaloni di nappa BRUNELLO CUCINELLI; camicia di vernice e stivali di pelle MSGM;
orecchino ATTICO. Hair Loris Rocchi @ Close Up Milano using L’Oréal Pro. Make-up Cosetta Giorgetti @ Close Up Milano using Urban Decay Born to Run.
Manicure Annarel Innocente @ Close Up Milano. Set Designer @ Eliana Casagrande.

106 Code vogue.it n. 819

 Cronaca Di Un Amore

108 Code vogue.it n. 819

Photos by ROSI DI STEFANO Styling by LUCA GALASSO

109
  Sotto. Querelle Jansen @ NY Model Management: collier “Move Uno” e orecchini in oro rosa e diamanti “Move Addiction by Gigi Hadid” MESSIKA PARIS; cappotto MANGO.
 In apertura. A sinistra. Anello e orecchini “Luxor Gold” in oro giallo con dorso intercambiabile “Spine” con brillanti FARNESE GIOIELLI. A destra. Collana in oro 18k con
smeraldo “Muzo” taglio goccia e collana in oro 18k con antico rubino cabochon e diamante ALEXANDRA ALBINI; maglia di lana e cashmere POLO RALPH LAUREN.

110 Code vogue.it n. 819

  Sotto. Bracciale in oro rosa con diamanti e giada nera e orecchini a lobo in oro rosa ROBERTO COIN. Hair Loris Rocchi @ Close Up Milano using L’Oréal Pro.
Make-up Cosetta Giorgetti @ Close Up Milano using Urban Decay Born to Run. Manicure Annarel Innocente @ Close Up Milano. Set Designer @ Eliana Casagrande.

112 Code vogue.it n. 819

— VIA SOLFERINO 9 - 20121 MILANO —
www.mesdemoisellesparis.com
Il Giardino Dei Fiori Di Pietra Photos by ROSI DI STEFANO Styling by LUCA GALASSO

vogue.it n. 819 Code 115

  Sotto. A sinistra. Trench in gabardine di cotone MSGM; tronchetti con frange in fil coupé STUART WEITZMAN.
A destra. Abito chemisier in twill di seta con collo di velluto e duchesse GUCCI; stivali di pitone roccia CIVIDINI.
 In apertura. Cappotto di duchesse froissé PRADA; stivali di naplak GREYMER.

116 Code vogue.it n. 819

 LIVE HAPPILLY
Andrea Bocelli, un’intera vita dedicata a perfezionare
la voce, per offrire al mondo le sue migliori esibizioni.
illy, più di 80 anni dedicati a perfezionare un unico blend
di 9 origini di Arabica, per offrire al mondo il suo miglior caffè.

#LIVEHAPPilly Scopri il blend illy, unico come chi lo ama, su illy.com

L’Arte Di Mixare
Disaronno e Trussardi insieme per la nuova iconica bottiglia #DisaronnoWearsTrussardi.
Una limited edition esclusiva, da collezionare.

La sua silhouette dagli angoli appena arrotondati è
inconfondibile: la bottiglia è bella da vedere, per il design
elegante, e da toccare, per il vetro martellinato. Il suo
aroma inconfondibile è immediatamente riconoscibile:
un piacere da gustare non solo on the rocks ma anche
nelle molteplici versioni mixate. Per questo, Disaronno
è il liquore italiano più bevuto al mondo. Un oggetto
di design, un’icona di stile che, per le feste di fine
anno 2018, torna alla grande sulla scena con la sesta
esclusiva limited edition, #DisaronnoWearsTrussardi,
all’interno del progetto “Disaronno Icon”, nato sotto
la direzione artistica di Vogue Italia. Di edizione in
edizione, la silhouette viene “vestita” dalle più famose
fashion griffe italiane. La nuova limited edition segna
l’incontro ai vertici della creatività tra due eccellenze
del made in Italy e dell’Italian lifestyle, Disaronno e
Trussardi, legate dalla condivisione di valori comuni,
quali tradizione e innovazione, eleganza e classe.
Allora il risultato diventa, ancora una volta, un oggetto
da collezione grazie alla rivisitazione di Trussardi che,
assieme all’iconica bottiglia, ha reinterpretato i codici
stessi del brand. Un’ispirazione che arriva dalla street
art, dai graffiti e dai murales che prendono forma
nelle strade di Milano, espressione dello spirito più
moderno e contemporaneo della città. La bottiglia
Disaronno e il classico Monogram Trussardi si sono
tinti di pennellate di colori saturi nelle tonalità fucsia,
verde e azzurro. Anche il levriero, simbolo dell’azienda
di lifestyle italiano, si colora delle stesse nuances,
per un risultato pop, moderno, contemporary, in
pieno stile Trussardi. Tomaso Trussardi, amministratore
delegato dell’omonima azienda, racconta così questa
speciale collaborazione: «La storia di Trussardi è fatta
di innovazione, scoperta, contaminazione. Vestire
l’iconica bottiglia Disaronno, oltre a consolidare il
legame fra due aziende che rappresentano l’italianità
nel mondo, va a sottolineare che Trussardi continua
a essere un brand lifestyle a 360 gradi». Gli fa eco
Augusto Reina, amministratore delegato di Illva Saronno
Holding: «Disaronno è apprezzato in tutto il mondo
come un simbolo dell’Italian style e siamo orgogliosi
di presentarci con una veste raffinata ed elegante
che riflette il nostro animo contemporaneo». Non resta
quindi che festeggiare l’arrivo del nuovo anno con
#DisaronnoWearsTrussardi e il cocktail Disaronno
Sparkling, dal gusto unico e dal colore dorato: 1 parte
di Disaronno e 3 parti di prosecco, con l’aggiunta
decorativa di un rametto di ribes.

Nella pagina a fianco. L’iconica bottiglia Disaronno, dal tappo rettangolare e dall’etichetta dorata, nella nuova
limited edition 2018 #DisaronnoWearsTrussardi. Per lei. Pull, pantalone. Per lui. Camicia, maglione. Tutto Trussardi.
Nail artist Carlotta Saettone@W-MManagement. Make-up artist Andrea Costa @Close Up Milano using Mac Cosmetics.
Hair stylist Giorgia Trezzi @Close Up Milano using L’Oréal Professionnel. Set designer Fabio Carturan.
Fashion editor Fabio Messana. Photo Gioconda & August.
VOGUE ITALIA PER DISARONNO
Un’Esclusiva Storia Di Stile
In scena la nuova 500 Collezione. In Tv con uno spot styled by L’Uomo Vogue. Perfetta
per esprimere il moderno concetto di eleganza.
Oggi più che mai gli accessori contribuiscono a disegnare uno
stile, meglio, lo esprimono aggiungendo carattere alla personalità
di chi lo fa proprio. Molto più che dettagli secondari, non
certo semplici comprimari del look, ne sono sempre più spesso
i veri protagonisti. Questo stesso concetto si può applicare alla
definizione dell’immagine di un’auto. Come nel caso della nuova
500 Collezione, sia nella versione cabrio con soft top grigio che
in quella berlina con tetto in vetro di serie, capace di farsi notare
sulla scena metropolitana non solo per il suo “vestito” declinabile in
una versatile gamma di colori e nello speciale bicolore “Brunello”,
ma anche e soprattutto per la sua libertà di esprimere, attraverso
ogni singolo dettaglio, un’estetica contemporanea. La raffinata
linea di bellezza color rame, con la modanatura cromata sul
cofano anteriore, non fa passare inosservate le armoniche forme
iconiche. La finitura color rame dei cerchi in lega da 16” cattura
l’attenzione anche quando l’auto è in movimento. I nuovi sedili
in tessuto gessato, i tappetini firmati “Collezione” e l’esclusiva
plancia, anch’essa decorata da una linea di bellezza color rame
che riprende i toni della carrozzeria, sono tutti elementi di stile che
creano il fil rouge tra interni ed esterni. A bordo, per non perdere
nemmeno un minuto di condivisione o di informazione, è disponibile
tra le dotazioni opzionali il sistema di infotainment Uconnect™ 7”
HD LIVE, con predisposizione Apple CarPlay e compatibilità con
Android Auto™. Infine, a siglare la serie speciale la firma cromata
Collezione sul portellone posteriore. E la nuova 500 Collezione
diventa così l’accessorio per eccellenza dello stile contemporaneo.
 VOGUE ITALIA PER FIAT

A sinistra. Casco Bergamaschi.

Sopra. Dall’alto. Zaino Valextra; casco
Bergamaschi; scarponcini Timberland;
chitarra Noah Guitars. Occhiali Laps
Collection by Italia Independent; sneakers
Common Projects. Scarpe Santoni. Nella
pagina accanto. Cappello Cambiaghi.

Ricapitolare il percorso di un brand storico come Empo-
rio Armani non è facile, occorre il distacco del tempo e
l’amore di chi l’ha creato. Per questo, l’indomani di una
sfilata-evento come quella tenuta all’hangar dell’aero-
porto di Linate e 37 anni dopo l’apertura del primo Em-
porio, abbiamo chiesto di farlo proprio al suo fondatore.
Perché scegliere di sfilare in un aeroporto.
Dopo le sfilate a Parigi e a Londra, era giunto il mo-
mento di fare qualcosa di importante per Emporio Ar-
mani a Milano: un ritorno alle origini, là dove tutto è
vogue.it n. 819
L’I C O N A
Lezioni
Di Volo
Perché una sfilata in aeroporto? E come
nasce il celebre logo con l’aquila? In 10
punti (più 2) la vera storia di EMPORIO
ARMANI, raccontata dal suo fondatore.
Lo stilista Giorgio
Armani, oggi 84 anni,
ritratto nel 1982
nel negozio Emporio
Armani di via
Durini a Milano.
cominciato. La scelta di Linate è stata naturale: l’hangar
con il logo c’era già.
Perché legare Emporio a un hangar aeroportuale.
L’aeroporto cattura lo spirito aperto e globale di Em-
porio Armani e la sua radice milanese. Linate è uno dei
simboli di Milano perché parla dell’internazionalità,
dell’innovazione di questa città che da sempre è riferi-
mento estetico ed etico del mio mondo. Volevo un luogo
che fosse sinonimo di viaggio come occasione di incro-
cio, avventura, libertà. Gli stessi valori del marchio.
Code 125
 ritratto di giorgio armani courtesy giorgio armani. photo backstage demis crudeli. tutte le immagini courtesy giorgio armani.
Uno scatto dal backstage della sfilata Emporio Armani P/E 2019, tenutasi a Linate, a Milano (dove dal 1996 il marchio
campeggia ben visibile). Sulla passerella allestita per la prima volta in un aeroporto, in un hangar hanno sfilato circa 200 creazioni
women e menswear, alla presenza di più di 2.500 persone tra cui anche i vincitori di biglietti estratti a sorte per l’occasione.

Come nasce l’idea di Emporio Armani.
All’inizio degli anni 80 realizzai che avrei potuto rivol-
germi a un pubblico potenzialmente molto vasto, che
non era lo stesso del mio prêt-à-porter. Ebbi così l’in-
tuizione di offrire un prodotto facile e accessibile ai più
giovani. Il denim all’epoca era la parte centrale dell’of-
ferta. Nessuno stilista aveva mai pensato di fare jeans.
Fui criticatissimo per questa scelta considerata azzarda-
ta. Ma il pubblico e il tempo mi hanno dato ragione.
Perché il nome Emporio.
Mi piaceva l’idea di un luogo in cui si potesse trovare
di tutto e a un giusto prezzo. Quell’idea è ancora valida
oggi: per me Emporio è un contenitore di capi, accessori
e idee, destinato a un pubblico trasversale, cosmopolita
e metropolitano.
Perché un aquilotto come simbolo.
Nacque per caso. Mi viene ancora in mente il momen-
to in cui lo disegnai, mentre ero al telefono, a seguito
di una richiesta del mio socio Sergio Galeotti che aveva
l’urgenza di definire un logo. Buttai giù lo schizzo, senza
troppo pensare, e quel simbolo di irraggiungibilità lan-
ciò il mio nome nell’olimpo dei giovani. Non avrei mai
pensato che quel disegno, fatto in fretta, potesse essere
un segno così travolgente.
I luoghi più emblematici di Emporio Armani.
Di certo via Broletto, dove dal 1985 è visibile il grande
murale, diventato parte dell’arredo cittadino e dell’im-
maginario collettivo. Via Durini, dove aprii il primo
Emporio nel 1981. L’hangar di Linate sul quale svetta
il logo dal 1996, visibile ai viaggiatori in arrivo e in par-
tenza, ma anche via Bergognone con l’Armani/Teatro,
iconica sede delle sfilate, e il concept store Armani/Man-
zoni 31 con l’Emporio Armani Caffè.
Il momento topico del brand, dagli esordi a oggi.
Non uno, ma molti momenti: dal murale a “Emporio
Armani Magazine”, dalla campagna con David Beckham
a quella scattata dal fotografo Boo George, fino alla
sfilata a Linate. Un discorso continuo, di apertura al
nuovo, alle idee, alla città. Una lingua che cambia, con
indubbia coerenza.
Come avviene la scelta dei testimonial.
Mi piacerebbe dire che nasce tutto da uno studio atten-
to. In realtà seguo molto l’istinto. Mi guardo intorno e
cerco di individuare volti che incarnino la filosofia dei

126 Code vogue.it n. 819

#KIKOSPARKLINGHOLIDAY kikocosmetics.com

NEW
SPARKLING HOLIDAY
COLLECTION

Now in every KIKO store.

 Alcuni look dalle collezioni Emporio Armani, marchio che ha esordito nel 1981. Dall’alto a sinistra, in senso orario. Marco Glaviano, A/I 1995.
Enrique Badulescu, P/E 1997. Marco Glaviano, A/I 1995. Norman Watson P/E 1989. Aldo Fallai A/I 1990. Marino Parisotto A/I 1996.

miei marchi, che ne trasmettano lo spirito, con la loro
energia e la loro personalità.
Vent’anni dopo è tornato il magazine di Emporio Ar-
mani, un giornale di carta nell’era in cui i brand vanno
online.
La carta stampata è sinonimo di qualità, di ricerca, di
invenzione. Il magazine diventa spazio di riflessione, og-
getto da collezione e dura nel tempo. La comunicazione
digitale è volatile. Cattura l’attenzione per un momento
ma non lascia traccia.
Un aneddoto legato a Emporio Armani mai raccontato.
Ricordo il giorno in cui venne montata la scritta con l’a-
quila sull’hangar. Fu divertente sentire i commenti all’i-
niziativa che mi giungevano man mano. Alcuni stranieri
credevano addirittura che avessi comprato l’aeroporto.
L’elemento più fondante del dna di Emporio Armani.
L’inclusività, che è già nel nome.
Il luogo preferito di Giorgio Armani a Milano.
Brera, con la sua vivacità. Il quartiere in cui abito, al cen-
tro del mio mondo. •

128 Code vogue.it n. 819

 L’A N N I V E RSA R I O

La Forma
Dell’Acqua

Una collezione speciale, un libro: così

HERNO festeggia i suoi primi 70 anni.
Una storia nata sulla riva di un fiume.
E che oggi promette di far suonare al
classico impermeabile nuove sinfonie.

di BARBARA AMADASI
foto di ROSI DI STEFANO

Querelle Jansen
@ NY Model
Management:
trench e piumino
a-shape con collo di
pelliccia realizzati
in tessuto jacquard
personalizzato,
Herno 70° Since
1948, Anniversary
Collection A/I 2018-
19. Hair Loris Rocchi
@ Close Up Milano
using L’Oréal Pro.
Make-up Cosetta
Giorgetti @ Close Up
Milano using Urban
Decay Born to Run.
Styling Luca Galasso.

130 Code vogue.it n. 819

È un nome “scritto sull’acqua” quello di
Herno: l’acqua impetuosa dell’Erno che ba-
gna Lesa, sulla sponda piemontese del Lago
Maggiore, memoria e ragione di un’azienda
ricca di storia e identità, che dal fiume nasce
e prende il nome – l’acca davanti è un vezzo,
preludio della vocazione all’internazionalità –
e che oggi celebra i 70 anni.
Nell’umido clima del lago ripararsi dalla
pioggia era una necessità, ricorda Claudio
Marenzi, 56 anni, figlio del fondatore Giu-
seppe e alla guida del gruppo dal 2005: so-
lide radici montane e orizzonte cosmopolita,
un mix di visione e pragmatismo la sua cifra.
«Dal 1948 Herno lavora sull’impermeabile.
Da allora siamo attenti alla performance, alla
funzionalità. Il nostro dna è fatto di manifat-
tura», racconta. La fabbrica che Giuseppe
Marenzi avviò in un opificio ottocentesco sul
fiume, trattando il tessuto di cotone con l’o-
lio di ricino per renderlo idrorepellente, ora è
un marchio luxury dal respiro internazionale,
con flagship stores in Europa, Giappone e
Usa, cui si guarda per le cappe di nylon luci-
do, di ciniglia, di jersey, i piumini con l’incon-
fondibile a-shape, i cappotti e i city parka di
cashmere, le lavorazioni double.
Nel tempo di mezzo, discese e risalite. «Tra
il 1990 e il 2005 producevamo per le mai-
sons francesi. Il marchio era appannato, ma
con un bagaglio enorme di esperienza, di co-
noscenza. Sono ripartito dal nome, forte di
anni di storia manifatturiera. Oggi siamo tra
i pochi a gestire ogni processo, a sviluppare
le idee e realizzarle internamente. Idee che
nascono prima dalla funzione, dalla doman-
da: a cosa serve questo capo?». Così si sono
inventati l’irrinunciabile – «e molto copiato»
– piumino ultraleggero ma caldo «da usare
sotto la giacca, che sostituisce il golfino e sta
in tasca o in borsa», o la collezione Laminar,
progetto di ingegneria sartoriale che usa la
tecnologia dell’active sport nell’urbanwear,
coltivando in anticipo un trend ora diffuso:
«È nata da una passione personale. Scio da
quando cammino, e anche in città serviva un
waterproof traspirante: siamo partiti dal pro-
dotto non dal marketing». In tempi di brand
che raccontano storie, anche l’iconico gancio Il gancio,
cui Herno affida l’immagine ha al centro so- simbolo
lo il prodotto e lascia ciascuno libero di crea- del brand,
re la propria narrazione. Ma è insieme anche
è «un omaggio
«un omaggio al minimalismo concettuale,
all’arte di Pistoletto e al Giappone, che si in- al minimalismo
treccia con la storia di Herno, ne contamina concettuale,
lo stile». all’arte
di Pistoletto,
L’arte contemporanea e il Giappone hanno al Giappone».
giocato entrambe un ruolo cruciale nella cre-
scita dell’azienda piemontese. Grazie a una
lunga liaison d’affari e amicizia con la fami-
glia Okuda, nata nei ’60 quando il paese ini-
zia a guardare alla moda europea, Marenzi è
stato infatti tra i primi italiani a sbarcare con
una boutique a Osaka: così oggi il Giappone
è il mercato principale. «L’architettura di Ta-
dao Ando e quella dei templi di Kyoto hanno
influenzato la mia estetica. Lì mi fermo a fare
ricerca, è una fucina incredibile di novità».
La passione per l’arte contemporanea, poi, in-
tesse tutto il mondo Herno: dalla sede di Lesa
ai negozi, all’immagine, e si è irradiata nelle
forme di mecenatismo per i giovani designers,
nelle collaborazioni con le scuole di moda
«importanti per l’innovazione», nel premio
Herno al Miart dedicato alle gallerie – «per-
ché nell’arte contemporanea è importante an-
che il contenitore». Oggi la priorità è la ricer-
ca, il rinnovamento dei processi produttivi, la
sostenibilità «con il primo capo che mappa il
proprio impatto ambientale. I nostri siti sono
autonomi per l’energia, i tessuti ecosostenibi-
li, ma ora serve tracciare l’inquinamento della
produzione di un capo per migliorare».
Famiglia – «il consiglio di mio padre? Non
crogiolarsi sugli allori» –, radici, l’azienda co-
Piumino a-shape di tessuto
me fucina creativa: è tutto distillato nel nuo- jacquard personalizzato, Herno
vo volume biografico “In flumine est vita” 70° Since 1948, Anniversary
(TeNeues) e nella collezione celebrativa con Collection A/I 2018-19.
il trench e il piumino griffati con i pensieri
dello staff, omaggio allo spirito di bottega
dell’azienda, alle persone che vi lavorano da
40 anni. Cosa c’è da inventare ancora nell’im-
permeabile? «È come la tastiera di un piano-
forte: è sempre quella, ma si possono creare
mille diversi accordi e melodie».•
131
rfjewels rf-jewels.com Senza Tempo Collection
 LA COLLEZIONE

Effe In
Equilibrio

Artista digitale, Hey Reilly con i marchi

Fendi e Fila ci giocava, finché lei, Silvia
Venturini Fendi, è stata al gioco. Il
risultato: un nuovo capitolo del progetto
FENDI MANIA, fusione dei due loghi.

di MARTA GALLI
foto di LEA COLOMBO

Belle Pierson
@ Dna Model
Management:
tuta di lycra con
logo Fendi Mania
e motivo FF;
secchiello con
tasche laterali
e stivali cowboy
di pelle con logo:
tutto FENDI
MANIA. Styling
by Yohana Lebasi.

Il loro incontro è avvenuto sui social network. Lui con un
account Instagram pieno di collage fantasiosi, lei piutto-
sto una neofita. Ma quando lui ha trovato un messaggio
spedito da lei, non pensava certo che sarebbe finita così.
E invece oggi dall’artwork di lui – l’artista digitale Hey
Reilly – è nata una capsule collection che fonde il nome
di Fendi con il lettering del marchio sportswear Fila. «È
successo subito dopo il mio post Fendi fake, non potevo
crederci. Era proprio Silvia Venturini Fendi a scrivermi,
ho temuto una denuncia. Ma ora eccoci qui con il pro-
getto Fendi Mania».
La collezione è stata svelata a metà ottobre con eventi
speciali a New York, Beverly Hills, Parigi, Londra, Mo-
sca, Hong Kong, Shanghai, Tokyo e Kuwait. «Fendi Ma-
nia è una celebrazione del logo iniziata con l’ultima sfila-
ta, che adesso si estende a capi e accessori donna, uomo e
bambino», dice Silvia Venturini Fendi, direttore creativo
uomo, bambino e accessori donna. «Allo stesso tempo è
una celebrazione del lavoro dell’artista, che unisce crea-
tività e ironia: il lato fun è per noi un elemento chiave».
Le basi dell’operazione si potrebbero definire ducham-
piane, condividendo la nota pratica dell’appropriazione

vogue.it n. 819 Code 133


Gilet imbottito con cappuccio di tessuto tecnico reversibile e motivo FF
all over; pantalone di jersey con bande laterali FF; marsupio di
tessuto vetrificato con motivo FF e logo Fendi Mania di pelle applicato;
décolleté di pelle con logo all over: Tutto FENDI MANIA. Hair Braydon
Nelson using Rene Furterer. Make-up Frankie Boyd using Chanel
Les Beiges, entrambi @ Streeters. On set John Haywood @ Mini Title NY.
134 Code
artistica. Riadattato ai codici della maison, il
logo è ora disponibile nelle combinazioni blu/
rosso e giallo/nero. «Fendi Mania ha uno spiri-
to street», prosegue. Si compone di un piccolo
e vivace guardaroba di pezzi tipo hot pants da
wonder woman e giacche con frange, cappotto
di visone con logo intarsiato e shopping bag in
pelle esotica, a sua volta intarsiata a stelle e stri-
sce. Arte e musica sono motivi ispiratori. Mate-
riali preziosi come cocco e pelliccia convivono
con denim e nylon. È un sottile gioco d’equili-
brio, poiché serba l’eleganza e la maestria arti-
gianale della maison mentre aderisce all’estetica
grafica e viscerale del logo.
«Silvia ha detto letteralmente: “Fai quel che
vuoi”», ricorda Hey Reilly, che si tiene stret-
to l’anonimato. Di lui si sa poco, a parte che è
scozzese e aveva una collezione menswear dopo
gli studi al Royal College of Art. Il suo account
con 120mila followers è una biblioteca d’icone
contemporanee in un cortocircuito di contami-
nazioni: rimasto silente per un po’, ha poi avuto
un successo virale e quindi piovono richieste di
collaborazione. Quella sua maniera irriverente
di trattare i miti d’oggi, in un mash-up per così
dire spontaneo, risuona perfettamente con la
sensibilità dei Millennials.
«Mi piace questa generazione, è libera, ha vo-
glia di riscoprire l’autenticità e l’originalità»,
dice Silvia Venturini Fendi: «Posta contenuti
che durano 24 ore, ma è vicina a valori senza
tempo». Non è il primo episodio questo, in ca-
sa Fendi, che guarda a quel segmento, lo stesso
di Leonetta, la figlia ventiduenne: «Mi ha con-
vinto a iscrivermi a Instagram». Circa un an-
no fa, infatti, avveniva il lancio di “F is for…”,
«progetto di comunicazione a 360 gradi, una
piattaforma online e offline che racconta il
nostro punto di vista con il loro linguaggio».
In fondo, il modo di concepire dei Millennials,
nella trasfigurazione del logo, è cruciale. Il
retroscena, filosofico: meglio il possesso o la
condivisione? Nel capitalismo delle immagini,
queste non sono di chi le produce ma di chi le
usa. Il logo smette di essere status symbol per
definirsi “linguaggio” e la parola chiave è “irri-
verenza”. Sosteneva infatti il filososfo, sociolo-
go e cineasta Guy Debord che «dove il mondo
reale si combina in semplici immagini, le sem-
plici immagini divengono degli esseri reali».
Quanto accade oggi, nella moda, dimostra che
virtuale e reale sono estremamente prossimi.
Perciò, la fantasia di Hey Reilly si è incarnata
in un prodotto che si vende online e offline.
Che finisse così, per chi conosce la stirpe delle
Fendi, era ovvio. Da sempre sostengono l’arte
anche nelle forme più innovative. «Siamo una
famiglia numerosa abituata a parlare tantissimo,
a tavola», chiosa la stilista, «e un’azienda dove si
è sempre respirata aria d’inclusione e libertà». •
vogue.it n. 819
 L’E V E N TO

Il Talento
di Mr. Mouse
Leggere, gioiose: così sono le quattro Piumino e gonna con la sagoma di Topolino disegnati da Vivetta
Ponti: la capsule collection è in vendita negli store Ovs.
capsule collection con cui Vogue Italia
e Disney festeggiano i 90 anni
di TOPOLINO, inattesa icona glamour.

È apparso in oltre 130 film, innumerevoli comic

books e strisce a fumetti. Ha una stella sulla Hol-
lywood Walk of Fame. E con i suoi novant’an-
ni compiuti proprio nel 2018, è sicuramente il
roditore più longevo della storia. «Tutto è co-
minciato con un topo», diceva Walt Disney nel
1954. E lo si potrebbe dire anche ora, guardando
la capsule collection che gioca con l’immagine
di Mickey Mouse, in vendita da questo mese in
selezionati store Ovs (e online su ovs.it). «Per
noi è importante sia esprimere una moda time-
less, sia raccontare una storia, e l’abbiamo fatto
reinterpretando la sagoma di Topolino in chiave
animalier e upside down», spiegano Mirko Fon-
tana e Diego Marquez di Au jour le jour, uno
dei brand coinvolti da Disney e Vogue Talents
in quest’avventura celebrativa dal sapore carto-
on. Per Vivetta Ponti di Vivetta, altra designer
della capsule, si è trattato di declinare «l’imma-
gine di un personaggio graficamente perfetto in
un guardaroba che copre tutta la giornata: dalla
T-shirt ricamata al piumino con le orecchie di
Topolino». Arthur Arbesser ama gli abiti di Mi-
ckey Mouse: «Per questo mi sono ispirato alle
stampe vintage della Disney, creando un pattern
molto grafico che ricorre su pezzi leggeri e gio-
iosi». Maria Sole Cecchi di Les Petits Joueurs,
infine, ha pixelato il topo, ricavandone «una ver-
sione moderna per zainetti borchiati, portachiavi
e stickers da applicare su abiti e accessori». •

di FEDERICO CHIARA

foto riccardo dubitante.

136 Code vogue.it n. 819

 I L P E RSO N AG G I O

Con Il Vestito
Buono
Liz Goldwyn (42 anni a dicembre) in minidress Courrèges, uno dei 300 pezzi tra abiti e accessori
in vendita su vestiairecollective.com. È stata editor di The New York Times Magazine e Vanity Fair
tra gli altri, ed è anche regista e scrittrice. Il suo ultimo libro è Sporting Guide (Regan Arts, 2015).

Erede della celebre major americana,

LIZ GOLDWYN già a 13 anni collezionava
abiti. Oggi 300 pezzi del suo immenso
archivio personale sono in vendita su
Vestiaire Collective. Per una giusta causa.

Scrive e dirige film Liz Goldwyn, nipote del ce­

lebre produttore hollywoodiano Samuel Gold­
wyn. E ama la moda: «A 13 anni mi interessavo
già al vintage. Per me c’erano solo gli abiti dei
’40, con le stampe rayon. Io e le mie amiche era­
vamo poi ossessionate dal look rockabilly, quello
con i pacchetti di sigarette arrotolati nelle ma­
niche delle T­shirt che ostentavano i ragazzi più
grandi». Liz fuga le perplessità: «“Grease” era
passato da un po’, ma a Los Angeles lo stile rétro
era incoraggiato e lo è tuttora». Crescendo, ha
allargato i suoi orizzonti: «A 18 anni mi sono
appassionata agli anni 20 e 30, poi ho scoperto
i ’60 e ’70». Oggi, dopo trent’anni, il suo archi­
vio è un pezzo di storia del costume, con corsetti
dell’800, rari abiti dei ’40 e pezzi avant­garde del
2000. «Ho capito che stavo facendo qualcosa di
“serio” mentre lavoravo da Sotheby’s: avevo 17
anni». Consulente e curatrice per la casa d’a­
ste, Liz ha collaborato tra l’altro al catalogo di
vendita dei costumi di Marlene Dietrich e all’al­
lestimento di varie mostre. Felice di indossare,
letteralmente, la propria passione – «Ho provato
il look jeans e T­shirt, ma non mi corrisponde»
–, oggi mette in vendita nelle archive series di
Vestiaire Collective 300 abiti scelti tra le migliaia
della sua collezione. «Li ho portati tutti almeno
una volta, ma ora avranno una nuova vita. Inol­
tre, parte del ricavato andrà a Dress for Success,
onlus che dal ’97 aiuta le donne a raggiungere
l’indipendenza economica, e questo mi rende
felice». Con nuovo spazio nel guardaroba, Liz
pensa ora a nuovi acquisti: «Cerco un miniabito
di Geoffrey Beene ispirato alle T­shirt del fo­
otball americano, un abito da ballo con corsetto
di Charles James e un pezzo di Rudi Gernreich
della collezione ispirata a Kees van Dongen». •
foto courtesy todd cole.

di MARIA GRAZIA MEDA

138 Code vogue.it n. 819

 LA COLLABORAZIONE

Una Storia
D’Amore
BLUMARINE e il designer Salvatore
Piccione: incontro felice di linguaggi
comuni. Da cui scaturisce una special
collection, femminile, colorata e pop.

Quarant’anni di esperienza e un fresco entu-

siasmo, un incontro, una storia d’amore. Così,
dalla collaborazione tra Blumarine, l’azienda di
Carpi da sempre guidata da Anna Molinari, e il
32enne designer siciliano Salvatore Piccione è
nata la capsule collection “We Are in Love with
Salvatore Piccione”: abiti di chiffon e bustier,
gonne a ruota, tailleurs dalle giacche avvitate
su pantaloni bell bottom, bomber di jacquard e
lurex con colli e polsi di volpe bianca; trench di
pvc con fiori 3D in organza,T-shirt con inserti
di cotone gommato e sneakers che giocano con
pitone, strass e ricami floreali tridimensionali.
Colorata, quasi pop nel segno grafico che rein-
terpreta la “rosa” simbolo di Blumarine, la col-
lezione riscrive in chiave moderna segni e sti-
lemi propri della maison ma anche di Piccione.
«Ne ho scoperto il talento nel 2014, in occasio-
ne di “Who Is On Next” », racconta Anna Mo-
linari, «e ho colto una grande affinità nel nostro
modo di concepire l’eleganza femminile. Per
noi la bellezza è armonia, grazia, equilibrio nel-
le proporzioni e nei colori, gioia di vivere, con
un tocco di ironia. Credo che il suo linguaggio
sia la perfetta traduzione dei codici stilistici di
Blumarine nell’idioma dei millennials». «Con-
divido», dice Piccione, «le nostre muse e ispi-
razioni sono simili: donne belle, amore per i
colori e per la leggerezza, un forte legame con
la natura. Solo che Blumarine ha quarant’anni
di successi, io trentadue di vita, e questo per me
è ancora il periodo della sperimentazione. Con
il team che mi ha affiancato abbiamo cercato
di enfatizzare il dna di Blumarine, dando forma
a una visione onirica, quasi irreale in una con-
temporaneità così veloce che spesso lascia poco
foto courtesy blumarine.

spazio al tempo e alla voglia di sognare». •

di LELLA SCALIA

Uno dei 120 capi della capsule “We Are in Love with Salvatore Piccione” di Blumarine. Prima dell’esordio nel 2008
con la linea Piccione.Piccione, il 32enne designer siciliano ha lavorato per Mary Katrantzou e per Céline.

140 Code vogue.it n. 819

 I L P RO G E T TO

A Corpo
Libero
Le étoiles Diana Vishneva, 42 anni (qui sotto e in basso a destra) e Aurélie Dupont, 45 (in basso a
sinistra) con i costumi creati da Karl Lagerfeld per il B/olero di Ohad Naharin (66 anni), eseguito al Gala
di inaugurazione della stagione di balletto dell’Opéra di Parigi, di cui la maison Chanel è mecenate.
Esaltano la bellezza della libertà
di movimento i costumi di CHANEL
per il “Bolero”, ultima creazione
per la danza firmata Karl Lagerfeld.

Karl Lagerfeld di costumi per la danza ne ha

firmati miriadi: per le maggiori compagnie di
balletto e i grandi coreografi contemporanei,
come quelli per il Brahms‑Schönberg Quartets
con una coreografia di Balanchine andato in sce‑
na all’Opéra di Parigi nel 2016. L’ultima crea‑
zione è per il “B/olero” realizzato dall’israeliano
Ohad Naharin per il Gala di inaugurazione della
stagione dell’Opéra di Parigi, di cui la maison
Chanel è mecenate. Lagerfeld reinterpreta la
semplicità delle linee di Gabrielle Chanel, che
per i Ballets Russes aveva creato i costumi di
“Le Train Bleu” e “Apollon Musagète”: comple‑
ti da loisir e chitoni greci di grande eleganza ed
estrema efficacia nell’assecondare i movimenti
dei danzatori. «Sempre togliere, spogliare, mai
aggiungere», diceva M.lle Coco. Due robes noi‑
res in crêpe, una sola spallina, bustier sartoriale e
tagli asimmetrici: questi i costumi di Lagerfeld,
che le danzatrici, alla vigilia del debutto, hanno
provato verificando sotto lo sguardo del coreo‑
grafo che il movimento vi scorresse fluido come
le note del celebre brano di Ravel. «“Bolero” è
uno dei miei brani preferiti, il primo disco di
musica classica che ho acquistato a 16 anni», ri‑
corda Lagerfeld. Anche se per il suo “B/olero”
Ohad Naharin ha scelto come partitura l’ela‑
borazione per sintetizzatore del giapponese
Isao Tomita. Estroso l’effetto sul metrico pas
de deux femminile, interpretato da Aurélie Du‑
pont, direttrice del Balletto dell’Opéra di Pa‑
rigi, e da Diana Vishneva, prima ballerina del
Teatro Mariinskij di San Pietroburgo. Ballerine
classiche che nella maturità dei quarant’anni
esplorano nuovi sentieri, le due étoiles si sono
incontrate un paio di anni fa a Tel Aviv a lavo‑
rare con il contesissimo Naharin. Neppure im‑
foto anne combaz/courtesy chanel.

maginando allora che quella preview israeliana

di “B/olero” sarebbe diventata una première
all’Opéra firmata Chanel. •

di VALENTINA BONELLI

142 Code vogue.it n. 819

S I NC E 195 6
 ST Y L E

Patti’s Eyes Idee e spunti del mese dal moodboard di PATTI WILSON*.

1. Hannah Dang, inglese di origine vietnamita,

ama confondere i confini tra arte e fashion.
Ispirandosi alle radici orientali e alla maestria
dei tatuatori costruisce una collezione intorno
a motivi asiatici tradizionali dipinti a mano.

2. Ines Monjo. Creare la sua prima collezione è

stato un modo per confrontarsi con un disturbo
alimentare. Forma e colore replicano la figura
umana, i fiori sono i giorni buoni e i difficili:
guardando le proprie paure, esce la vera bellezza.

3. Michelle Ellie mi
piace per il coraggio
e l’originalità. Con la
sua linea, ispirata alle
sneakers dipinte dal
figlio da piccolo, e
resa glam da borchie
e strass, porta la
couture alla strada.

1
5

4. Stefan Cooke.
La pelle di serpente, 5. Il duo Schueller De Waal (Philipp Schueller
la plastica. Ecco, e Rens De Waal) infonde agli abiti
mi piace un umorismo spontaneo, presentando
proprio tutto. una moda seria in modo “non serio”.
4

*Fashion Editor at Large di Vogue Italia

144 Code vogue.it n. 819

SHOP AT FRACOMINA.IT
 ST Y L E

Assemblage Inattese declinazioni del TRAPUNTATO: vintage, romantico, postatomico.

Ligne Roset.
Poltrona Ruché
by Inga Sempé,
in legno e tessuto.

Natalie Baxter.
Opera realizzata con
patchwork di coperte
e tessuti trapuntati,
2016.

Stephanie Uhart.
Look della
collezione “Humans
vs Humanoids”.

Steven Meisel.
Uno scatto per Vogue
Italia, giugno 2010.

Maison
Margiela.
6 Moncler Noir Kei Borsa
Ninomiya. “Glam
Gonna Slam’’
di nylon laqué. di nappa.

Aspesi.
Ryan Piumino
Gosling leggero con
in una scena colletto.
di “Drive”,
2011. drive 2011: Tcd/prod.db/alamy stock photo.

Emilio Pucci.
Stola di seta
stampata.

a cura di MIRTA TRASTULLI

146 Code vogue.it n.819

 ST Y L E

Focus On / 1 Morbidi, nei toni della terra, i BOOTS in suede sono un classico senza tempo.

Dall’alto, in senso
orario. Ankle boots
CHRISTIAN
LOUBOUTIN.
Stivali di vitellino
rovesciato con
arricciatura
SANTONI.
Tronchetti con
zip interna e tacco
metallizzato
VIC MATIƒ.
Stiletto con dettagli
di nappa MARIO
VALENTINO.
Boots con profili
contrasto STUART
WEITZMAN.

a cura di FRANCESCA RAGAZZI photo by THOMAS LAGRANGE

148 Code vogue.it n. 819

PHOTO
FE S T I VA L

15-18 NOVEMBRE 2018

- EMBRACING DIVERSITY
- A L L T H AT M A N I S
Fashion and Masculinity Now
- TALKS
- PORTFOLIO REVIEWS
- PROJECTIONS
BASE MILANO
VIA BERGOGNONE 34
MILANO

15 NOVEMBRE - 9 DICEMBRE 2018

- S Ø LV E S U N D S B Ø
BEYOND THE STILL IMAGE

PALAZZO REALE
PIAZZA DUOMO 12
MILANO

# P H O T O V O G U E F E S T I VA L
V O G U E . I T / P H O T O - V O G U E - F E S T I VA L
T H E F I R S T FA S H I O N P H O T O G R A P H Y F E S T I VA L I N I T A LY

OFFICIAL PARTNERS INSTITUTIONAL PARTNERS IN COLLABORATION WITH

 ST Y L E

Focus On / 2 Monocrome o multicolor: le CLUTCH INVERNALI si vestono di scie luminose.

Dall’alto. Clutch
di seta con strass e
piccola borsa a tracolla
con applicazioni
di strass all-over:
GIORGIO ARMANI.

a cura di FRANCESCA RAGAZZI photo by VITO FERNICOLA

150 Code vogue.it n. 819

Simple is beautiful

Iris Apfel

Paşabahçe Store Milan, Corso Matteotti 3

nudeglass / nudeglass.com / #IrisApfelNude

 ST Y L E

Focus On / 3 Linee sinuose e dettagli metal: la POSTINA fonde ispirazioni equestri e veste classica.

Borsa “Tess” di
vitello lucido e
camoscio con
chiusura ad anello e
dettagli di metallo
CHLOÉ.

a cura di FRANCESCA RAGAZZI photo by THOMAS LAGRANGE

152 Code vogue.it n. 819

 ST Y L E

Focus On / 4 Il fascino dark degli accessori di PITONE A MACCHIA NATURALE.

“Sveva bag”
di pitone con
manico regolabile
ORCIANI. Occhiali
da sole oversize
N°21 X LINDA
FARROW. Mocassini
di pitone stampato
con tacco glitter
ROCHAS.

a cura di FRANCESCA RAGAZZI photo by THOMAS LAGRANGE

154 Code vogue.it n. 819


Il Prezioso Trasformismo Della
“Mondo Collection” Di Farnese Gioielli
È un’inaspettata esperienza polisensoriale, che coinvolge la
vista, certo, ma a sorpresa anche il tatto e l’udito, a proiettare
l’Alta Gioielleria in una nuova dimensione, quella in cui la
ricerca della bellezza assoluta nasce dalla perfetta armonia
tra l’espressione artistica, l’innovazione meccanica e la
condivisione di un’emozione. Farnese Gioielli, maison nata
a Roma nel 2012 dallo slancio creativo e dalle intuizioni
imprenditoriali della designer Barbara Polli e di Alberto Maria
Serraino, ribalta i classici canoni estetici della gioielleria,
mettendo in atto una piccola, ma significativa, rivoluzione
definibile ingegneristica. Infatti, avendo ideato e progettato
un meccanismo brevettato in settanta paesi attraverso il
quale gli anelli possono cambiare “vestito”, Farnese Gioielli
VOGUE ITALIA PER FARNESE
A sinistra. Dalla “Mondo Collection”
di Farnese Gioielli, “Versailles White”:
anello in oro bianco con quattro file di
diamanti taglio brillante con “Blue Spine”,
dorso removibile e intercambiabile, nella
foto con pavé di zaffiri top color taglio
brillante. Sotto. Barbara Polli, designer di
Farnese Gioielli. Foto Carmine Arrichiello.
diventa così il primo brand al mondo ad aver trasformato
il design statico tipico dei gioielli in dinamico. Questo è
possibile grazie all’ingegnoso sistema degli “Spine”, dorsi
intercambiabili, ovvero moduli semirigidi composti da pavé
di pietre preziose, applicabili in pochi secondi attraverso
un semplice clic alla struttura d’oro bianco o giallo del
gioiello, realizzato secondo la tradizione artigianale
orafa valenzana. Ecco allora che “Luxor”, “Pantheon” e
“Versailles” si trasformano letteralmente ogni volta che si
cambiano gli “Spine”, disponibili in una misura universale,
quindi abbinabili a qualunque modello, e in cinque colori
esaltati dalla luce di diamanti bianchi o neri, zaffiri, rubini e
smeraldi. Per gioielli, ogni volta, unici e personali.
La Puglia Per Immagini
«Al di là degli intenti descrittivi e illustrativi la fotografia
si configura così come metodo per guardare e raffigurare
i luoghi, gli oggetti, i volti del nostro tempo, non per
catalogarli o definirli, ma per scoprire e costruire immagini
che siano anche nuove possibilità di percezione». Così
Luigi Ghirri in “La fotografia: uno sguardo aperto, 1984”.
E proprio sotto la lente di sguardi aperti sarà la regione
Puglia, protagonista di una mostra fotografica – realizzata
in collaborazione con Pugliapromozione – che si tiene
a BASE Milano dal 15 al 18 novembre in occasione
della terza edizione del Photo Vogue Festival, rassegna
internazionale presieduta dal direttore di Vogue Italia
Emanuele Farneti e diretta dalla Senior Photo Editor Alessia
Glaviano. Un viaggio per immagini per scoprire la bellezza
non convenzionale dello scenario pugliese attraverso lo
sguardo di tre talentuosi fotografi – Elliott Verdier, Sonia
Szóstak e Timo Kerber – individuati tra gli oltre 160mila
utenti che fanno parte della community di PhotoVogue,
la piattaforma fotografica di Vogue.it. Ciascun autore
è stato chiamato a compiere un itinerario in Puglia per
conoscere le diverse anime del territorio e interpretarle
secondo la propria sensibilità. Con i suoi colori delicati
e i tempi meditativi del grande formato, Elliott Verdier ci
regala visioni contemplative del paesaggio pugliese fatto
di pietra e acqua, dove le tracce della storia si fondono
armoniosamente con la natura incontaminata. Timo Kerber
rivela al pubblico la spettacolarità e unicità degli eventi
che ogni anno valorizzano contesti di inestimabile pregio
culturale e naturale come le Grotte di Castellana. Sonia
Szóstak racconta con autenticità il rapporto viscerale con
la terra, il momento della raccolta, il rituale della tavola, le
tradizioni che continuano a vivere nel presente.
VOGUE ITALIA PER PUGLIAPROMOZIONE
Nelle pagine precedenti. Otranto, Faro di Punta Palascìa. Fasano, Parco Archeologico di Egnazia,
Muraglione. Mola di Bari, località Cozze. Foto di Elliott Verdier.
In questa pagina. Foto di Timo Kerber realizzate all’interno delle Grotte di Castellana in occasione di
“Hell in the Cave”, spettacolo dedicato all’Inferno della “Divina Commedia” di Dante Alighieri.
Nella pagina accanto, dall’alto. Pezze di Greco, Masseria Montenapoleone. Monopoli, Masseria Spina.
Noci, ulivo millenario in prossimità del trullo The nice. Foto di Sonia Szóstak.
VOGUE ITALIA PER PUGLIAPROMOZIONE
 VOGUE ITALIA PER TEMPO

Tempo Veste Diesel: The Season’s Cult

Diesel ricrea il look dei mitici fazzoletti Tempo. Tre varianti nei toni rock, indie,
denim caratterizzano con stile una serie unica di accessori smart. E charity oriented.

Sono i must di stagione, tutti da collezionare, i box “Tempo
by Diesel”. Non è la prima volta che il leggendario marchio
di fazzoletti di carta lega il suo nome a un marchio cutting-
edge del made in Italy. Dopo la partnership con Moschino
quest’anno tocca a Diesel, il brand che in quarant’anni
di inesauribile creatività è diventato il simbolo del casual
glam. In linea con lo stile ormai inconfondibile imposto
da Renzo Rosso, a decorare i pratici box cubici sono tre
irresistibili fantasie. Grintosa dal gusto rock è la variante su
fondo rosso sangue, coperta di adesivi simili a quelli che i
teenagers collezionavano nei mitici anni Settanta. Ricorda
lo spirito indie del movimento grunge l’originalissimo
disegno su tinta grigia: una mano irriverente coperta di
anelli con margherite che spuntano tra le dita. L’estro
aggressivo degli anni Novanta si esprime nel disegno
a camouflage militare, reinterpretato nei toni blue denim
caratteristici del marchio. Sulle tre varianti spicca il logo
Diesel, a griffare una collezione limited edition. Sono i
nuovi accessori del living contemporaneo, perfetti per
una quotidianità disinvolta ma stylish. Con la qualità,
garantita da Tempo, dei mitici fazzoletti, resistenti in
lavatrice, morbidi e delicati sulla pelle. Ed ethic per
attitude, perché la serie Tempo realizzata da Diesel
aderisce a un progetto charity in collaborazione con la
Onlus Only The Brave Foundation: la ricostruzione della
scuola media di Sarnano, piccolo centro del maceratese
colpito dal terremoto. Un altro motivo per non rinunciare a
collezionare “Tempo by Diesel”.

Eccole le irresistibili fantasie ideate da Diesel per i fazzoletti Tempo: camouflage denim, wild rock, indie grunge.
Ideali per il living contemporaneo, in limited edition tutte da collezionare.
| NINFEA Ring | www.digovalenza.com |
11 On
The
Move
Ethan
James
Green

Day
Of
Night
Mark
Seliger

Chasing
The
Dragon
Tim
Walker

Overhead
Dario
Catellani

Les
Enfants
Terribles
Michael
Bailey-
Gates

163
on the move
BY E T H A N JA M E S G R E E N
ST Y L I N G BY C L A R E R I C H A R D S O N
Freja Beha Erichsen @ Dna Model Management: maglia di lana a trecce RALPH LAUREN COLLECTION.   Nelle pagine precedenti. Camicia di velluto con collo a foulard e bottoni
gioiello GIORGIO ARMANI; abito di voile MATCHESFASHION.COM PER PRADA; borsa di pelle stampata, calze e sandali di vernice PRADA.
Õ In apertura. Cappotto di pelle NINA RICCI; top di organza a collo alto ERMANNO SCERVINO; top di latex ATSUKO KUDO; gonna di tulle PAN & THE DREAM;
culotte DKNY; calze FALKE; borsa di pelle con fiore ricamato e borchie piramidali VALENTINO GARAVANI; sandali di vernice PRADA.
Dolcevita a coste di maglia e viscosa LANVIN; gonna di latex ATSUKO KUDO; calze di nylon tecnico e sandali di vernice PRADA;
borsa “City Frame” di pelle martellata e liscia con chiusura in metallo LOUIS VUITTON.
Cappotto di pvc vintage PRADA; gonna di vinile con pizzo N°21; calze di nylon tecnico PRADA; décolleté di pelle bicolore GIVENCHY;
bracciale “Perlée” in oro bianco e diamanti VAN CLEEF & ARPELS.
Abito asimmetrico di duchesse ricamato MICHAEL KORS COLLECTION; calze di nylon tecnico PRADA;
bracciale “Panthère de Cartier” in oro bianco, smeraldi, diamanti e lacca nera CARTIER.
Giacca e gonna di bouclé con zip diagonale MOSCHINO; blusa di latex WILLIAM WILDE; calze di nylon tecnico e sandali di vernice PRADA.
Abito di pvc stampa pizzo con dettaglio di piume nere CHRISTOPHER KANE; calze di nylon tecnico PRADA; décolleté di pelle bicolore GIVENCHY.
Dolcevita di cashmere ALBERTA FERRETTI; cappotto di cammello N°21; gonna di latex TABLEAUX VIVANTS; culotte DKNY; calze di nylon tecnico e sandali di vernice PRADA;
borsa di pelle THE ROW. Trolley “Horizon” di tela monogram con dettagli di pelle e chiusura tsa LOUIS VUITTON.
Abito di sablé envers cady con maxismerli VALENTINO; calze di nylon tecnico e sandali di vernice PRADA; minaudière di plexliglas con fiore intarsiato VALENTINO GARAVANI.
Make-up Kanako Takase @ Streeters using Charlotte Tilbury. Hair Shay Ashual @ Art Partner. Manicure Casey Herman for Dior @ The Wall Group. Set Design Julia Wagner @ Clm.
On set Cat Lewis @ M.a.p. Thanks to 70 Commerce. Models: Dilon Eyre e Trevor Signorino @ Next men NY; Frankie Cammarata e Vitor Melo @ Soul Artist Management;
Mitchell Slaggert @ Dna Model Management; François Angoston @ Major Model Management.
 photos by mark seliger

day of
night
Steffy Argelich @ Img Models:
trench oversize di cotone
ALBERTA FERRETTI;
dolcevita di lana MARNI;
pantaloni a vita alta di pelle
BALLY; cappello a tesa
larga EUGENIA KIM;
stivali MICHAEL KORS
COLLECTION.
Ñ  Nella pagina accanto.
Aaliyah Hydes @ Muse
Management: cappotto check
di lana con ecopelliccia GUESS
JEANS; piumino di cotone e
seta ROKSANDA; pantaloni
A.W.A.K.E.; borsa GUCCI.
 In apertura. Jay Wright
@ NY Model Management:
trench di pelle MARC
JACOBS; giubbotto e pantaloni
di canvas verniciato, maglia
di cashmere: tutto COCO
NEIGE CHANEL.
Isabella Emmack @ Dna:
cappotto di lana con interno
di raso Bottega Veneta;
biker di pelle TOMMY
HILFIGER; camicia
di cotone Tod’s; borsa “City
Knot” di nappa con catena
BOTTEGA VENETA;
ankle boots SACAI.
  Nella pagina accanto.
Cappotto di pelle con catena
metallica HERMÈS; dolcevita
di lana MARNI; occhiali in
acetato trasparente CÉLINE.
styling by renata correa
Sotto. A sinistra. Parka double
face di shearling con frange
COACH 1941; dolcevita
lavorato a maglia SACAI;
gonna di lana MAJE;
collana MIRANDA FRYE;
stivali MARNI.
A destra. Kiko Arai @ Muse
Management: cappotto di
montone con maniche di pelle
e colletto con ricamo east/west
realizzato a mano
LOUIS VUITTON;
camicia ULLA JOHNSON;
ankle boots GIVENCHY.
Ñ  Nella pagina accanto.
A sinistra. Lia Pavlova @ Next
Models: giacca trapuntata
oversize MOORER; gilet di
lana POLO RALPH LAUREN;
gonna di tweed, calze, décolleté
e borsa: tutto MIU MIU.
A destra. Cappotto oversize
di ecopelliccia HERNO;
giacca e bermuda ricamati
con applicazioni di velluto
e micro baguette GIORGIO
ARMANI; cappello di lana
tartan e borsa con catena
e medaglie VERSACE.
Giubbotto imbottito di nylon
tecnico con maxicollo
SPORTMAX; piumino
imbottito con inserti e interno
di montone e cappuccio
con pelliccia removibile
PARAJUMPERS.
Ñ  Nella pagina accanto.
Caban di lana spazzolata,
cappotto monopetto, gonna
a ruota plissettata, pump di
pelle: tutto CALVIN KLEIN
205W39NYC.
 Cappotto di pelle stampa
pitone e stivali MARNI.
Cintura MICHAEL KORS
COLLECTION.
Ñ  Nella pagina accanto.
Pelliccia sintetica oversize
GIVENCHY.
  Nella pagina seguente.
Cappotto di lana STELLA
MCCARTNEY; pantalone
GIADA; scarpe BALLY.
Hair Ashley Javier @ Art +
Commerce. Make-up Kabuki
(kabukimagic.com) using
Mac Cosmetics. Manicure
Ami Vega @ See Management
using Chanel Le Vernis.
On set Coco Knudson.
15 09
20 18
 chasing

dragon
the

photos by tim
walker
styling by zoe bedeaux
Xie Chaoyu @ Premier: abito con
volant di organza, tulle e chiffon
di seta DOLCE&GABBANA.
Crinolina NATIONAL THEATRE
COSTUME HIRE; cappello
PEBBLE LONDON; maschera
JAMES MERRY. Orecchini
VINTAGE EDOUARD RAMBAUD.
Õ In apertura, da sinistra. Ling Ling
@ Premier: abito di popeline
con ruches JULIE KEGELS;
cuissardes KIRA GOODEY. Anello
ZOE BEDEAUX. Top di organza
dorata PETER MOVRIN.
Cappotto di velluto con perline e ricami
floreali in cristallo sulle maniche
GUCCI. Stivali con zeppa NAMILIA X
KIRA GOODEY FOOTWEAR.
Orecchini KALINGER.
Ò Nella pagina accanto. Top, pantaloni
e stivali con ricami e applicazioni
JOSHUA H KIM; sciarpa con rouches
PORTOBELLO VINTAGE.
Anello in argento SAINT LAURENT
BY ANTHONY VACCARELLO.
 Abito di tulle con applicazioni ROKSANDA; scarpe con ricami NAMILIA X KIRA GOODEY FOOTWEAR; guanti UNICORNS POOP
GLITTER. Orecchini con perle PEBBLE LONDON. ÒNella pagina accanto. Abiti di lattice dipinto a mano e orecchini con perle HANNAH
DANG. Hair Malcolm Edwards. Make-up Isshehungry. Set design Shona Heath. On set Jeff Delich. Printing Graeme Bulcraig at Touch Digital.
Da sinistra. Abito in crêpe di seta
GIVENCHY. Orecchini
con cristalli Swarovski FRANGOS
JEWELRY. Parasole in legno
THE COSTUME STUDIO.
Abito monospalla in crêpe di seta
GIVENCHY; sandali scultura
EELKO MOORER. Orecchini
THE HIRST COLLECTION.
 Nella pagina accanto.
Tuta di tulle con applicazioni
PAM HOGG. Orecchini con
maxiperle PEBBLE LONDON;
maschera JAMES MERRY.
 Sotto. A sinistra. Sasha Pivovarova @ Img Models: abito di seta con pannelli applicati BALENCIAGA.
A destra. Abito di maglia lurex NINA RICCI. In tutto il servizio gioielli ELEUTERI VINTAGE.
Nella pagina accanto. Abito farfalla con frange di seta ALEXANDER MCQUEEN.
 In apertura. A sinistra. Abito di seta con ruches GIAMBATTISTA VALLI; culotte YAMAMAY.
A destra. Abito in panno di lana con profonda scollatura SAINT LAURENT BY ANTHONY VACCARELLO.
 Sopra. Top di vinile HAIDER ACKERMANN.
 
Nella pagina accanto. Dolcevita THE ROW; pantaloni di lana a zampa VERA WANG.
Ñ 
 Sotto. Abito in gazar di seta THE ROW; culotte YAMAMAY.
 
Nella pagina accanto. Abito a portafoglio di lana JACQUEMUS.
 
Hair Shay Ashual @ Art Partner. Make-up Dick Page @ Statement Artists.
Manicure Maki Sakamoto @ The Wall Group using Dior. Set design
Mila Taylor-Young @ D+V Management. On set Clm Us & Francis McKenzie.
LES
ENFANTS TERRIBLES

BY MICHAEL BAILEY-GATES
Da sinistra. Jonny Brown
@ Soul Artist Management:
cappotto di pelle scamosciata,
lupetto di lana pettinata,
pantaloni di tecno jersey
e sneakers di pelle scamosciata
e nylon con dettaglio logo.
Naomi Chin Wing @ Img
Models: cappotto di pelle
scamosciata, maglia di lana
pettinata con dettaglio logo,
gonna di chiffon e mocassini
di jacquard knit. Tutto PRADA.
Ñ  Nella pagina accanto. Anton
Jaeger @ Tomorrow Is Another
Day e Amanda Murphy @ Img
Models: maglie di lana costa
inglese e pelle, camicie
di cloquet e T-shirt in jersey
di cotone. Tutto PRADA.
Õ  In apertura. A sinistra.
Gemma Ward @ Img Models:
top di organzino stampato,
gonna di tecno jersey,
cappello di tessuto nylon
e sandali di vernice bicolore.
Tutto PRADA.
A destra, dall’alto. Emma Boyd
@ Elite: giacca di nappa, top
di organzino, gonna di tecno
jersey, cappello di tessuto
nylon. Jane Moseley @ Next:
collo alto di lana jacquard
con zip, T-shirt in jersey
di cotone, pantaloni di tecno
jersey e cappello di tessuto
nylon. Tutto PRADA.
 Da sinistra. Amanda: cappotto
di pelle scamosciata e décolleté
di jacquard knit. Luis
Bobadilla: cappotto di tecno
jersey, lupetto di maglia
jacquard. Logan: shorts di lana
kid mohair, guanti di nappa,
borsa “Double” di saffiano cuir
e city calf, sneakers di pelle
scamosciata e nylon con
dettaglio logo. Carly Mark:
gonna di tecno jersey, guanti di
nappa, mocassini di jacquard
knit. Anton: giacca di tecno
jersey, lupetto e costume di
maglieria jacquard, sneakers di
pelle scamosciata e nylon con
dettaglio logo. Naomi:
cappotto di nappa, gonna di
tecno jersey, borsa “Manuelle”
di city calf e decolleté di
vernice. Tutto PRADA.

STYLING BY PATTI WILSON

 Cappotto di pelle scamosciata
PRADA. Ò  Nella pagina
accanto, da sinistra. Gonna di
tecno jersey e guanti di nappa.
Cappotto di pelle scamosciata.
Shorts di lana kid mohair,
guanti di nappa e borsa
“Double” di saffiano cuir e city
calf. Tutto PRADA.
 Giacca e gonna di cloquet,
maglia di filato tecnico e
cappello di tessuto nylon. Tutto
PRADA. Ò  Nella pagina
accanto, da sinistra. Jane: abito
stampato di organzino e
cappello di tessuto nylon.
Michael: lupetto stampato in
filo di scozia e cappello di
tessuto nylon. Tutto PRADA.
Hair Shingo Shibata using
Rodin @ The Wall Group.
Make-up Kanako Takase @
Streeters using Mac Cosmetics.
Set design Gerard Santos at
Streeter’s. On set Mini title.
226 vogue.it n. 819
HO FATTO UN SOGNO
Back
Ogni artista ha il suo percorso: quello di Sølve
Sundsbø parte da una pista da sci e arriva nei
territori più immaginifici della fotografia di
moda. Oggi fa tappa a Milano, a Palazzo Reale,
dove Vogue Italia gli dedica una grande mostra.

Ñ di ALESSIA GLAVIANO

227
 i
«È cominciato tutto sciando – perché sciavo molto, e
continuo a farlo. Lo sci è molto interessante per la foto-
grafia: sei immerso in uno spazio bianco, tutto da riempi-
re. Come una tela vuota. E poi i concerti: lì invece è tutto
nero, nerissimo, e poi lo riempi».
Ogni fotografo, ogni artista, ha compiuto un proprio
percorso che lo ha portato a essere la persona che è. Per
Sølve Sundsbø tutto è cominciato con quegli spazi vuo-
ti da riempire. Una faccenda di bianco e nero. Poi sono
venuti i colori: ÇLentamente ma inesorabilmente sono
entrato nel mondo della moda e mi sono reso conto di
quanto sia bello e stimolante lavorarci».
Il desiderio di un’estetica più realistica priverà la fotogra-
fia di moda del suo potere di generare magiche illusioni?
Pensiamo ancora che un artista debba essere “dannato”
per creare opere importanti? E com’è cambiato il busi-
ness della fotografia di moda nell’era del #MeToo?
Vogue Italia lo ha chiesto a Sølve Sundsbø: con la sua
personalissima visione, caratterizzata da una tecnologia
all’avanguardia e da sfide ambiziose alla natura bidimen-
sionale dell’immagine fotografica, questo quarantotten-
ne è infatti l’esempio perfetto del fashion photographer
che fabbrica sogni. I suoi video e le sue fotografie rifiu-
tano qualsiasi rigida adesione al realismo, aprendo una
228 Back
porta su quell’incantevole dimensione in cui realtà e im-
maginazione si fondono. Nell’ambito del Photo Vogue
Festival di quest’anno, Sundsbø sarà protagonista di una
mostra personale dal titolo “Beyond the Still Image”,
ospitata a Palazzo Reale di Milano (15/11-9/12).
Negli ultimi anni, e in particolare con l’avvento dei so-
traduzione alice guareschi. tutte le immagini © sølve sundsbø.
cial media, sempre più persone hanno puntato il dito
su una fotografia di moda che promuove standard di
bellezza non raggiungibili. Il desiderio di vedere cor-
pi autentici è senza dubbio un cambiamento positivo e
importante, ma penso anche che sarebbe un errore se un
simile desiderio di “verità” finisse per censurare la foto-
grafia di moda. Dopo tutto, per usare le parole di Irving
Penn, la fotografia di moda è fatta «per vendere sogni,
non vestiti». Cosa ne pensa?
Quando la gente dice “la direzione è questa”, è come se
stesse dando per scontato che da quel momento la dire-
zione sarà sempre quella. Ma non è vero. Il mondo della
fotografia di moda cambia ogni sei mesi, o persino più
velocemente, è in continuo movimento. Ci sarà sempre
una dinamica di reazione e controreazione. Se il trend di
adesso è “tutto deve essere reale”, puoi scommettere che
tra tre anni ci sarà di nuovo qualcosa di ultraglamorous e
vogue.it n. 819
 Sotto. Chiwetel, da Interview, settembre 2015. Nella pagina
accanto. Elena in Gaultier, da Numéro #91, 2007. In apertura.
Mission, Erin O’Connor, aprile 2017. Nella pagina seguente. Diana,
da i-D magazine (inverno 2014). Tutte le immagini sono esposte
nella mostra dedicata a SundsbØ a Palazzo Reale, Milano
«La fotografia è
(15/11-9/12), nell’ambito del Photo Vogue Festival (15-18/11).
uno strumento di
comunicazione
straordinario
perché lascia
uno spazio
enorme
alla nostra
fantasia».
Solve Sundsbo

ritoccato, perché è così che funzionano le cose. Scatto fo-
tografie di vita quotidiana in continuazione, quindi sono
assolutamente a mio agio nel mondo dell’ultrarealistico,
ma non scelgo necessariamente di farlo quando lavoro.
Ho quattro figli, mi alzo al mattino, loro vanno a scuola,
poi tornano a casa, gli diamo da mangiare – la vita rea-
le, insomma. Quindi quando vado a lavorare ho voglia
di fare altro. Non ho bisogno di sfuggire al glamour ed
entrare nella realtà. Voglio piuttosto passare da una vita
relativamente normale a un mondo che abbia un po’ più
di immaginazione.
Pensa che al giorno d’oggi stiamo finalmente superando
il luogo comune secondo cui per essere dei grandi artisti
occorre avere uno stile di vita estremo?
Penso che, per molti, tutte queste regole su come uno
dovrebbe comportarsi in quanto artista siano solo una
scusa. In particolare, sulla scia del #MeToo, ritengo sia

229
230 Back vogue.it n. 819
tempo di rimettere in questione il comportamento di
persone che agiscono come agiscono unicamente perché
quelli intorno a loro, o in generale la cultura, hanno vo-
luto trovare delle scuse per il loro comportamento. Ca-
pisco che alcuni artisti possano essere più tormentati di
altri, e rispetto chi ha bisogno di vivere in un certo modo
per creare. Ma non ci sono regole che dicano che devi
vivere in un mondo di fantasia per crearne uno immagi-
nario. Un buon esempio è quello di Roald Dahl, che si
sedeva ogni giorno nella sua stanza, con la penna in ma-
no, e creava universi magici dal nulla. Non sto dicendo
a nessuno come deve vivere. Ma è tempo di smettere di
scusarsi per comportamenti orribili con l’argomentazio-
ne pretestuosa che “è così che vanno le cose”.
Ricordo bene com’era il business negli anni 90, quando
vivevo a New York e lavoravo come assistente di fotogra-
fi di moda. Non penso ci possano essere giustificazioni
di alcun tipo per il fatto di maltrattare qualcuno psico-
logicamente o fisicamente, ma i comportamenti inap-
propriati non sono certo una novità. Cosa è cambiato?
Tutti possono sbagliare. Ma diventa un problema quando
è un intero sistema, o il modo di lavorare di qualcuno, a
essere ripetutamente sbagliato. Siamo tutti esseri umani,
ma per me esiste un limite che non può essere oltrepas-
sato. Quando mi sono trasferito a Londra, uno dei miei
migliori amici mi ha detto: «Se vuoi essere un bravo fo-
tografo, devi diventare la versione migliore di te stesso».
Lo stile di vita di un fotografo può essere abbastanza di-
sfunzionale, perché quando sei in studio tu sei il re o la
regina, ed è possibile perdersi dentro a un potere simile,
in particolar modo se non hai qualcosa d’altro nella tua
vita a fare da contrappeso a queste dinamiche. Un pote-
re e una responsabilità senza controllo possono generare
molti problemi. Ecco perché per me è importante avere
qualcosa al di fuori della fotografia di moda – qualcosa
di personale – che è più prezioso, che mi mette a fuoco.
La natura è la sua più grande fonte d’ispirazione?
Sì, ma anche la musica, i libri e la scienza. I miei amici e
la mia famiglia dicono che sono un nerd. Ma tutte que-
ste cose mi stimolano e sono incredibilmente curioso, al
punto da diventare fastidioso. Se qualcuno è nel mezzo
di una conversazione, voglio sempre sapere di cosa si
sta parlando. Ci sono persone timide, io sono curioso. E
penso che la curiosità caratterizzi il mio lavoro, perché
voglio esplorare.
Mi viene in mente David LaChapelle quando diceva:
«Se vuoi la realtà, prendi l’autobus».
Proprio così. E un altro artita, Simon Foxton, ha detto:
«Se vuoi la realtà, guarda fuori dalla finestra».
Nella mostra a Milano, a Palazzo Reale, ci saranno
fotografie, video e installazioni site-specific che chiara-
mente fanno vedere quanto sia all’avanguardia il modo
in cui usa la tecnologia per spingere l’immagine di mo-
da ben al di là dei limiti bidimensionali. Qual è per lei
la principale differenza tra immagini fisse e immagini
in movimento?
Penso che la forza dell’immagine fissa derivi dal fatto
che si tratta di un momento nel tempo in cui sei tu a
dover aggiungere cosa è successo prima e dopo. Sei in
una logica in cui dici: «Ora ti do un personaggio e un
momento nel tempo, e tu devi immaginare il resto». È
questo il motivo per cui la fotografia è uno strumento
di comunicazione così straordinario: perché lascia uno
spazio enorme alla nostra fantasia. Anche trasferire que-
sta idea alle immagini in movimento è una sfida, perché
devi fare la stessa cosa, ma in circa 60 secondi. È come
vedere una sola scena tratta da un film e immaginare il
resto della trama.
C’è anche l’idea che la sua arte, che sia fotografia o film,
non debba per forza seguire una narrazione lineare.
Penso che questo abbia anche a che vedere con il fatto
che non mi piace che mi si dica cosa devo fare. E non mi
piace neanche dire alle persone cosa dovrebbero pensare
o meno. Credo che lasciando a chi guarda il film o l’im-
magine questo tipo di spazio, scatti una forma di rispetto
verso lo spettatore che mi piace molto.
Come fotografo di moda, ha bisogno di un bravo stylist,
un buon parrucchiere e un buon make-up artist. Sui
suoi set, quanto interferisce con le scelte di questi mem-
bri decisivi del team?
Dipende dal tipo di lavoro. Ma, come sa bene, i migliori
fotografi hanno i migliori hair e make-up artists. Pren-
da la relazione di Steven Meisel con Guido Palau e Pat
McGrath. La combinazione tra il miglior make-up e hair
styling con il miglior fotografo. È davvero incredibile.
Tendo a tornare a lavorare con lo stesso gruppo di perso-
ne perché c’è rispetto reciproco e un linguaggio condivi-
so. Posso dare dei suggerimenti, ma non è il mio punto
forte. Se penso a Mert e Marcus, Mert probabilmente
potrebbe fare il trucco e i capelli. Lui è bravissimo, ma io
non ne sono capace.
Quali fotografi l’hanno maggiormente ispirata?
Penn e Avedon sono sempre i due cui tutti guardano. Co-
me chi fa musica è influenzato dai grandi compositori,
è la stessa cosa. Ovviamente per me è stato molto im-
portante Nick Knight, perché lavoravo per lui. Quando
stavo cominciando a interessarmi alla fotografia di mo-
da, Nick aveva un ruolo di punta nella trasformazione di
questo tipo di fotografia.
Che cos’è la bellezza per lei?
La bellezza è sopravvalutata. La bellezza per me è ca-
risma e gentilezza. Quando incontriamo una persona
carismatica, questa persona è capace di far scomparire il
mondo intero. È un dono incredibile, e Avedon lo aveva.
L’ho incontrato solo per un paio di minuti, ma è stato co-
me se il mondo intero fosse scomparso e avesse lasciato
solo lui e me. Con la bellezza succede la stessa cosa. Non
la so definire, ma quando la vedi la riconosci. •
231
 QUESTA NON È UNA STORIA DI VESTITI
A più di un mese dal putiferio scatenato da Hedi Slimane con la sua interpretazione di Celine
(accento incluso), un giornalista-scrittore fa il punto. Risultato: un feuilleton con protagonisti #MeToo,
Trump, omofobia e neofemminismo, una guerra di business. E molta (non) insperata pubblicità.

di MICHELE MASNERI

Ci furono addirittura adunanze sediziose. Addirittura
prima della rivoluzione. La rivoluzione, come si vuole
francese, è quella che ha portato scompiglio nel già non
placido mondo della moda, e anche Hedi Slimane da
Céline: anzi Celine (è anche una storia d’accento, que-
sta). Le adunanze sediziose, alla vigilia della sfilata P/E
2019 della maison, il 28 settembre, erano organizzate
dalle “philofiles”, le seguaci della precedente designer,
Phoebe Philo. Adunanze preventive in boutique che ce-
lebravano l’addio a colei che aveva a suo modo creato
un mondo: sofisticato, altoborghese, diurno. Attesa, la
rivoluzione puntualmente avvenne: con i 96 look (unisex
equamente indossati da donne e uomini) mandati in pas-
serella da Hedi Slimane nella grande struttura di acciaio
e vetro du côté des Invalides.
Oggi, dopo oltre un mese, l’eco della rivoluzione, presto
fattasi rissa mediatica, ancora non si è placata. Perché
questa non è una storia di vestiti. È un feuilleton su uno
dei non molti ambiti, la moda, che oggi riesce a incrocia-
re soldi, potere, espressione artistica, influenza culturale,
creazione di immaginario in pochi anni e con carriere
persino meritocratiche come in nessun altro settore, al-
meno in Europa. Ecco perché si è qui a scriverne, e sen-
za essere esperti del ramo. Si è studiato: la sfilata dello
scontento si chiamava “Paris La Nuit,” e come program-
ma-manifesto “diario notturno della jeunesse parigina”,
quanto di più lontano insomma dal passato. Nei suoi
dieci anni a Parigi, Phoebe Philo – donna lavoratrice
fin dal nome, che sembra quello di un’agenda – aveva
rassicurato le coscienze con le sue tutine e le borsette
signorili, il cappottone e il cappotto doppio trench, in-
somma l’armamentario sartoriale per una working girl
globale molto abbiente e rifinita in cachemire. Era stato
un trionfo di critica e di vendite (borse, per la verità, più
che vestiti): come una Prada degli inizi, aveva plasmato
lo stile di sciure minimaliste-intellettuali (il colpo di ge-
nio-grazia finale con Joan Didion testimonial). Ma a fine
settembre le philofiles si son ritrovate invece – anticipate
da un rullo di tamburi della guardia repubblicana, nello
show che ha cambiato tutto – uno stuolo di adolescenti,
acuminati slimaniani, in impeccabili abitini fondamen-
talmente neri, attillati attorno alle loro uscite serali.
Dall’interno-giorno degli uffici ariosi e salubri di queste
lavoratrici, ci si è ritrovati all’esterno notte di una Senna
più eccitante. Son cresciuti un po’ nel tempo gli adole-
scenti, negli anni del seminario slimaniano sulla gioven-
tù, prima da Dior Homme (2000-2007) e poi da Saint
Laurent (2012-2016); diventano grandi ma mai del tutto
adulti, come personaggi da Bret Easton Ellis. Secondo il
“Financial Times”, Slimane con la sua estetica è rimasto
imprigionato in un mondo magro, adolescente, come
sotto un aspic, una gelatina che lo preserva.
Fuori dalla gelatina, gliene han dette di ogni. Di aver
ripetuto se stesso, certo, di aver violato il sacro panto-
ne beige-grigio-kaki di Celine. «Déjà-vu», secondo la
più feroce accusatrice, Vanessa Friedman sul “The New
York Times”, per cui «era possibile sperare che Slima-
ne invece di ripetersi si evolvesse dando vita a qualco-
sa in grado di parlare più generosamente a chi ha vite

232 Back vogue.it n. 819

233
 multidimensionali». Meno concettuali, i soliti perfidi
debunkers di “Diet Prada” hanno fatto un bel meme con
un tipo che incolla una pubblicità di Saint Laurent su
un’altra di Celine, al suono di una dolce melodia (“Move
bitch, get out the way”). Articolando poi: «Eravamo spe-
ranzosi e pronti a essere sorpresi, ma vedendo la nuova
collezione ci siamo ricordati che è meglio rimanere cini-
ci». “The Washington Post”: «In una notte ha fatto sal-
tare tutto quello che era di Celine» (compreso l’accento,
Qui e in apertura. I manifesti delle nuove campagne di Celine a Londra e a Parigi sui quali i nostalgici hanno rimesso a mano l’accento acuto sulla prima E.
234 Back
che come si sa è stato l’avvisaglia del cambiamento.
Qualche giorno prima della fatidica sfilata, sono com-
parsi infatti i primi loghi, ed è stato subito “accent-gate”,
e del resto lui prima aveva tolto la Y davanti al suo Saint
Laurent che mieteva adorazione e fatturati).
Eppure lui, Slimane, aveva messo le mani avanti: nell’in-
tervista abbastanza programmatica a “Le Figaro” del 25
settembre: «Ho trovato il mio stile vent’anni fa. Passa
vogue.it n. 819
 «Il confronto con Trump è opportunistico, piuttosto grossolano e comico. E poi le donne che vesto io
sono libere di farlo come vogliono. O forse non sono più autorizzate a mettere una minigonna?».
per una linea, un tratto, una allure che seguo ossessi-
vamente e che definisce chi sono». Le philofiles sono
affrante. «Certo, forse alla fine è meglio una rottura
drastica piuttosto di un imitatore di Phoebe», riflettono
su “The Business of Fashion”. Non era nemmeno facile
trovare un successore per la stilista inglese che ha ab-
bandonato il marchio a primavera, dopo aver imposto la
sua donna senza angoli, «oversize, soft, enveloping» se-
condo Vanessa Friedman, insomma verrebbe da dire una
fagottara molto contemporanea e normcore. Le philo-
files oggi fanno i girotondi nelle boutique: «Il negozio
Celine era pieno di donne intellettuali provenienti da
ogni parte del mondo», ha scritto Stéphanie Danan, sti-
lista francese trapiantata a Los Angeles (come Slimane).
Perché il cuore della questione poi non è estetico ma
politico. I ragazzi di Slimane hanno scelto il momento
peggiore per uscire dall’aspic: quello del primo anniver-
sario del #MeToo, quello di un mondo sempre più di-
chiaratamente sensibile alla narrazione femminista.
Così le reazioni alla sfilata slimaniana continuano, e non
riguardano davvero i vestiti, ma tutto il resto. «Non ri-
flette la diversità della gioventù parigina», secondo “The
Washington Post”. «Mascolinità tossica», ha commen-
tato Tim Blanks. «Il 91 per cento delle sue modelle so-
no bianche!», calcola il sito americano Mic (confron-
tando la sfilata parigina di Celine con la media virtuosa
della fashion week newyorchese, 44,8 per cento). “The
Hollywood Reporter”, che ha paragonato Slimane a
Trump, seppur ironicamente (a differenza dei beoti dei
social, che non sono così sottili): «L’odio per Slimane
sembra particolarmente appropriato per i nostri tempi,
quando la politica trumpiana di divisione, news e social
media ha reso qualunque cosa personale, e trasformato
nel collage di queste pagine, foto di vanni bassetti e rose ryan.
il discorso pubblico in un duello quotidiano. Per alcuni
comprarsi un cappotto da quattromila dollari disegnato
da una donna era percepito come un atto femminista.
Per loro, il resto della storia potrebbe sembrare fami-
liare. Porta via il lavoro a una donna che lo faceva alla
perfezione, dallo a un uomo che rovina tutto», ha scrit-
to il magazine californiano. Continuando: «C’è da do-
mandarsi se Lvmh (che controlla Celine) si aspettasse
questo tipo di operazione».
In realtà non è che se lo aspettano: ci contano proprio.
Quando Bernard Arnault ha cooptato in primavera Sli-
mane, lo stilista francese era reduce dai trionfi, non solo
creativi ma anche commerciali, di Saint Laurent, dove
cambiava i nomi ma soprattutto i fatturati. I ricavi sotto
la sua gestione “maschilista” sono cresciuti del 75 per
cento. Ma si può fare anche meglio: con lui Celine dovrà
ora passare dagli 800 milioni di euro attuali al doppio
o al triplo, missione cui è tenuto dalla proprietà, grazie
anche alle linee uomo, ai profumi e alla couture (così un
nuovo profumo Celine è atteso già per l’anno prossimo).
Lo sanno tutti. È stato chiamato per questo. E oltre alla
lotta tra femmes savantes e adolescenti smandrappate,
sullo sfondo c’è quella più brutale tra i due grupponi del
lusso francese: Kering di Pinault, che raggruppa tra gli
altri Saint Laurent, Gucci, Balenciaga e Alexander Mc-
Queen, e Lvmh di Arnault, che oltre a Celine ha anche
Vuitton, Givenchy, Fendi e Dior.
Non facile fare il designer nell’epoca della sua riprodu-
cibilità tecnica. Su Trump però Slimane ha sbroccato.
In un’intervista, quasi riproponendo un po’ la risposta
francese al femminismo americano contemporaneo
(e sarà un caso, ma Catherine Deneuve, una delle più
sprezzanti contro il #MeToo, era in prima fila alla sua
sfilata), ha detto: «Il confronto con Trump è opportu-
nistico, piuttosto grossolano e comico. E poi le donne
che vesto io sono libere, libere di farlo come vogliono.
O forse non sono più autorizzate a mettersi una mini-
gonna se lo credono? Ho visto che per alcuni io avrei
anche il cattivo gusto di succedere a una stilista donna.
Ci si legge un sottotesto di omofobia sorprendente. Ma
davvero un uomo che disegna una collezione donna è un
problema?». Domanda retorica: ovviamente sì, almeno
per i mostri dei social.
Qualcuno degli accusatori della critica si è poi pentito,
forse confidando in gadget o benevolenze, forse riguar-
dandosi le foto della sfilata, dove gli young adults di Sli-
mane sono appunto young, ma non particolarmente ses-
sualizzati, anzi. Molto meno di altri marchi. Sono semmai
stropicciati (come poi i loro colleghi “reali”, con tutte le
inchieste per cui si sa che i teenager non è che facciano
tutto questo sesso). Forse tutti proiettano un po’ troppo
sulla passerella. «In fondo», ha scritto Robin Givhan sul
“Post”, «Slimane non è qui per risolvere tutti i vostri pro-
blemi, ma per dar corpo a una visione. I vostri problemi,
portateli dall’analista». E Anabel Maldonado, su “The
Business of Fashion”: «Abbiamo esagerato. Rischiamo di
castrare la creatività, oltre che un settore importante del
mercato». E ancora: «Tante di noi qualche volta hanno
indossato con piacere una minigonna». Slimane ringrazia
per questa pubblicità insperata, e dice che non è finita qui.
Qualcuno si chiede: perché, invece di continuare a fare
se stesso, non fa un marchio suo? Questo sembra già un
quesito più interessante rispetto al dibattito tra femmini-
ste infagottate o sexy, comunque altospendenti. “Aspic”
potrebbe essere un bellissimo nome per un brand. •
235
236 Back vogue.it n. 819
ERAVAMO PIRATI
I pantaloni stretti di quel giovane calabrese, il logo per uno sconosciuto futuro re del fashion,
una collezione uomo che non c’era, le prime modelle... Flavio Lucchini, art director e mente creativa
di Vogue Italia, ha lanciato il prêt-à-porter italiano nel mondo. In queste pagine racconta come tutto
è cominciato, mentre Milano festeggia i suoi 90 anni con mostre, installazioni e un documentario.

Ñ di RAFFAELE PANIZZA

237
 Accanto. Flavio
Lucchini nel
backstage dell’Alta
Moda Roma, 1970.
In apertura. Dall’alto
a sinistra, in senso
orario. Con Yves
Saint Laurent. Con
Alexander Liberman
e Oliviero Toscani,
New York, 1971.
Flavio Lucchini
con Gisella Borioli,
novelli sposi, 1976,
e Franca Sozzani,
testimone di nozze:
Oliviero Toscani,
autore della foto,
appare riflesso nello
specchio. Lucchini,
Toscani e l’aiuto
redattore Giorgio
Bernardini nella
redazione di Vogue,
1971. Con Gianni
Versace e Gisella
Borioli, 1985. Ancora
con Gisella Borioli,
appena atterrati
a New York, 1971.

Nella casa di Flavio Lucchini c’è una foto di Oliviero To-
scani immortalato mentre inquadra Andy Warhol, che a
sua volta solleva la Polaroid e risponde al flash con un al-
tro flash: Lucchini che dirige la scena, pantaloni eleganti,
Converse (di pelle) ai piedi, nella Factory di New York,
anno 1969. «Andy stampava serigrafie a ciclo continuo,
e mi disse una cosa che mi colpì: “Good business is the
best form of art”». Oliviero indossava un gilet Missoni,
nel tipico patchwork di consistenze e colori, un partico-
lare in apparenza secondario in cui c’è però un frammen-
to di storia della moda italiana: «Negli anni 60 Missoni
realizzava solo la collezione donna», dice Lucchini nella
sua dimora milanese, ieri ricoperta di moquette nera a
pelo lungo ispirata alle installazioni di Pino Pascali, ora
punteggiata di opere di Alighiero Boetti, arredi di Ettore
Sottsass, foto di Diane Arbus e opere da lui stesso crea-
te negli ultimi vent’anni. Una casa acquistata nel 1971 e
divisa con Gisella Borioli, compagna di vita e di lavoro,
che se lo ritrovò davanti a una lezione all’Accademia di
Brera e, ancora ragazzina, si disse: ecco l’uomo della vita,
per conquistarlo mi renderò indispensabile, poi mi farò
amare, quindi lo sposerò. Un sodalizio che alla fine degli
anni 80, quando da tempo avevano lasciato l’universo
Vogue per fondare con Rusconi la Edimoda, lo portò a
rifiutare l’incarico che in cuor suo aveva sempre sognato:
«Alla morte di Franco Sartori (direttore di Vogue Italia e
amministratore delegato, ndr.) mi proposero di divenire
ad di Condé Nast, ma le direttrici di allora posero una
condizione irricevibile: lasciar fuori Gisella dalla nuova
avventura. Ricordo la telefonata di Daniel Salem, allora
capo delle operazioni del gruppo: “Mais Flavio, Vogue
c’est Vogue!”. Al che gli risposi: “Oui Daniel, mais la fa-
mille est la famille”».
Si diceva di quel patchwork, e del suo significato per la
moda italiana: «Per la cover de “L’Uomo Vogue” che
avevo da poco fondato, decisi di fotografare l’attore Lino
Capolicchio, e per creare un look screpolato, da rivolu-
zionario anni 70, mi feci spedire da Missoni alcuni pezzi
di stoffa del campionario, le cosiddette tirelle. Usando
delle spille da balia, montai i frammenti intorno al collo
di Lino in modo che sembrassero un maglione, e andai in
edicola. Fu tale il successo di quella cover che Missoni si
trovò costretto a creare la collezione maschile».

238 Back vogue.it n. 819

 Flavio Lucchini non solo ha contribuito a fondare Vogue
Italia, nel 1965, portandolo in pochi anni a imporsi come
l’edizione più importante dopo quella americana e stac­
cando per influenza e fatturato quelle inglesi e francesi.
Ma per una serie di intuizioni simili e secondo l’opinione
di molti, si può considerare un padre fondatore del Made
in Italy. O almeno della sua trasformazione in movimen­
to, percezione condivisa e rispettata all’estero, sistema,
battaglia comune.
Un direttore artistico che attraverso le pagine della rivi­
sta che ha guidato fino al 1979 a fianco di Sartori ha con­
vinto stilisti e industriali ad abbracciare estetiche e mo­
delli, indirizzato le scelte commerciali, lanciato i giovani
del prêt­à­porter che albeggiava a Milano, e moderniz­
zato l’approccio dei sarti dell’alta moda romana che s’ac­
contentavano di realizzare pochi costosissimi abiti per le
nobildonne lasciando che il resto d’Italia ne copiasse il
lavoro grazie ai cartamodelli. Incontrava i cravattai e li
convinceva ad abbandonare regimental e motivetti geo­
metrici per sostituirli con disegni pop e fluo: «Persino
utilizzare l’immagine di Mao Tse Tung come stampa fu
un’idea mia e di Vogue Italia». Insieme all’allora diretto­
re commerciale di Condé Nast Attilio Fontanesi andava
dai tessutai per portarli a finanziare i groupage, editoriali
di trenta pagine in cui si mostrava il lavoro dei sarti: Va­
lentino, Balestra, Capucci, Galitzine. E poi Krizia, Arma­
ni, Walter Albini, Ken Scott. Il sistema dei pubblireda­
zionali, volano per l’industria italiana e per le casse della
rivista, era nato. «Grazie ai groupage ingaggiai fotografi
altrimenti irraggiungibili come Irving Penn e Richard
Avedon, mentre scartai Bruce Weber che non mi piaceva.
Sulla scia della visibilità creata da Vogue Italia, i nostri
couturier più bravi divennero famosi come quelli france­
si. E d’un tratto la nostra moda non era più di serie B».
Ecco perché oggi, a novant’anni appena compiuti, Mila­
no dedica a Lucchini le celebrazioni che merita: “Ghost”,
un’installazione di quattro sculture da lui realizzate, sarà
visibile per tutto novembre nel giardino del Palazzo della
Triennale. Al Superstudio Più di via Forcella, fondato in­
sieme al fotografo Fabrizio Ferri, fino al 31/12 sono espo­
sti novanta pezzi tra opere d’arte, cover, foto e documenti,
per narrare una storia che va dalla creazione di “Amica”,
nel 1962, alla nascita del gruppo Edimoda fondato dopo
la fine dell’avventura a Vogue, alla scelta degli ultimi anni
di dedicarsi solo all’arte. Inoltre, la possibilità di visitare,
foto courtesy archivio flavio lucchini.
su appuntamento, il suo archivio privato nell’Undergallery
del Superstudio Più, dove dal 16 al 18/11 sarà proiettato
“La moda in un altro modo”, documentario curato da Gi­
sella Borioli e diretto da Giovanni Gastel.
«Partivamo con un camioncino pieno di vestiti e fotografavamo gli studenti in rivolta,
i ragazzi delle periferie, le modelle come Alberta Tiburzi e Benedetta Barzini, quando a Milano
non c’erano neppure le agenzie. E le redattrici erano scelte con inserzioni sul “Corriere”».
Una costellazione di antologie che forse non riusciran­
no neppure a esaurirne il contributo: «Eravamo pirati»,
racconta Lucchini, nella divisa nera vagamente sovietica
che ultimamente caratterizza il suo stile, «partivamo con
un camioncino pieno di vestiti e fotografavamo gli stu­
denti in rivolta, i ragazzi delle periferie, le modelle come
Alberta Tiburzi e Benedetta Barzini, quando a Milano
non c’erano neppure le agenzie». Le redattrici moda ve­
nivano selezionate senza giri di conoscenze, pubblicando
inserzioni sul “Corriere della Sera”: «Cercavo laureate in
lettere o architettura e conducevo colloqui strani, chie­
devo di descrivermi cosa appendessero alle pareti di casa
e che libri stessero leggendo. Anche Franca Sozzani fu
scovata così: sembrava volenterosa e la prendemmo pri­
ma per la segreteria, e poi la passai a Gisella come sua
assistente a “Vogue Bambini,” anche se lei non la voleva:
diceva che le sembrava una signorina troppo perbene.
Poi pian piano ha assorbito tutto, e il virus della moda
l’ha posseduta».
Ricorda una festa nella sede di piazza Castello, con le pri­
me luci stroboscopiche portate da New York da Mario
Schifano. Poi una missione in Costa Azzurra a caccia di
Pablo Picasso, respinti con fermezza dalla giovane com­
pagna del maestro, Jacqueline Roque: «Ci disse che non
stava bene e ci mandò via, ma indomiti ci venne il col­
po di genio: a Nizza viveva Michele Sapone, il suo sarto,
che ci tirò fuori un album di fotografie che ritraevano
Picasso in mutande, in tight, vestito alla marinara, nudo.
Saltammo sulla sedia e fotografammo tutti i faldoni, e
pubblicammo il servizio su “L’Uomo Vogue”». Poi Yves
Saint Laurent, convinto a posare con indosso tutta la sua
prima collezione maschile. O i pantaloni senza piega e
stretti alla caviglia che un giovane Gianni Versace, figlio
di una sarta di Reggio Calabria, gli portò un giorno in
redazione: «Tutti li indossavano a zampa, ma noi li pub­
blicammo lo stesso, creando sconcerto tra fabbricanti e
negozianti».
La storia più incredibile riguarda Giorgio Armani, cono­
sciuto mentre lavorava per il Lanificio Fratelli Cerruti.
«Quando il suo rapporto con l’azienda andò in crisi ven­
ne da me per un consiglio, e io gli dissi che era venuto
il momento di mettersi in proprio», ricorda Lucchini
che gli propone sei pagine di pubblicità su Vogue Italia
annunciando l’imminente collezione, offerte a credito
come investimento del giornale, irremovibile di fronte
alle incertezze del futuro Re Giorgio: “Ma Flavio, non
ho neanche un marchio!”. «Seduta stante, con il Bodoni
originale usato per la testata di Vogue, gli composi il logo
Giorgio Armani. Lo stesso che usa ancora oggi». •
239

Virgil Abloh,
Takashi Murakami
by BEATRICE ZAMPONI
“Working with Virgil, I wanted to build a new and
stronger bridge between art and the general public,
between fashion and subculture. My desire was for arti-
sts to be able to look back in 20 years’ time and feel that
anything is possible. I accepted the responsibility of
knowing that how I live and work today will condition
the depth and breadth of the creative choices made by
future generations of artists. We could say I’m sowing
the seeds for them.”
“Interpreting contemporary society is a central part of
my research. Takashi and I are extremely aware of the
era we’re living in, and we’re constantly trying to tran-
slate it into our work. This is what brought us together.”
Named by “Time” magazine as among the world’s most
influential people, Virgil Abloh and Takashi Murakami
share a devilish ability to merge categories that are nor-
mally regarded as distinct, if not opposing. And in doing
so they interpret and transform the contemporary.
A 38-year-old American with Ghanaian origins, Abloh
has degrees in engineering and architecture. Perhaps
it’s this contrast with the fashion world that has given
him the uncommon skill to tune into the wants and
desires of different audiences. Creative director of
the rapper Kanye West, a DJ and the founder of the
Off-White label, Abloh is a “herald of immediate cool”
(as Angelo Flaccavento described him on these pages in
the May issue). At the same time, he is also art director
of Louis Vuitton’s menswear and the creator of a line of
furniture for Ikea dedicated to the millennials, due out
in stores in 2019.
Much has been said about Takashi Murakami. The
56-year-old is Japan’s best-known artist, a mixer of high
and low culture, East and West, tradition and manga.
He has combined the factory concept rooted in Japa-
nese craftsmanship with the idea of Warhol and Hol-
lywood movie production systems. This has led him to
merge art and the market-place, selling sculptures and
paintings worth millions of dollars alongside mass-pro-
duced products such as T-shirts and key rings.
Abloh and Murakami are long-standing friends. For ye-
ars they have viewed each other’s work with admiration
while mutually influencing each other. They decided
to work together on the creation of a series of exhibi-
tions in the galleries of Larry Gagosian. After starting
in London with the show “Future History” in February,
the cycle landed in Paris during the summer with the
title “Technicolor 2”, and concluded a few days ago with
“America Too” at the Gagosian gallery in Beverly Hills.
Their aim – as they explain in this dual interview with
“Vogue Italia” – was to highlight the numerous commu-
nicating vessels between their eccentric languages.
You both work with large teams, like in a Renaissance
workshop. How important is this collaborative aspect?
240
English Texts
Takashi Murakami. I’ve always felt that the figure of
the lone artist wasn’t for me, whereas the idea of the
atelier seemed far more congenial. So I put the idea in-
to practice and I called my workshop Kaikai Kiki, whi-
ch means eccentric and wonderful. These words were
traditionally used to refer to the artist Kano Eitoku
from the Kano school, which was an atelier speciali-
sed in decorative art founded before the Edo period.
However, this collaborative system wasn’t common in
contemporary or Japanese art at the time of my debut.
I had to build it up and fight to establish it. It might not
last for 300 years like the Kano school, but I hope it
continues for at least 100 years like Disney!
Virgil Abloh. Our shared practice is closely bound to
what we produce. Big teams are absolutely vital if you
want to achieve certain results when you’re working
on larger scales, both in terms of physical size and pro-
ductive quantities. Our collaboration is based on the
total inclusion of our relative teams working as one.
You both use recognisable symbols and icons that then
become your unmistakable hallmarks…
V.A. In my case everything starts from Marcel Du-
champ and the new expressive possibilities he gave us
with his ready-mades. I transferred his artistic language
into today’s world, choosing for example to use pede-
strian-crossing stripes as a symbol. I adopted something
trivial, ubiquitous and ready to use, and through its re-
petition I turned it into a meaningful part of my work.
T.M. I started depicting my characters to describe
how Japan focused on creating these charming-di-
sturbing dolls after World War II. It’s a very complex
world that represents one of our strongest cultural
eccentricities, and that’s why I wanted to turn its pro-
tagonists into icons.
Abloh, in your language you use a lot of lettering and
quote marks. Is there a Dadaist inclination in this
choice?
V.A. The use of lettering and quote marks allows me
to be figurative and literal at the same time. It helps
me to recontextualise objects and concepts, letting me
develop a constantly new dimension where I can create.
In your work you often reveal part of the creative pro-
cess. Why?
V.A. It offers me the chance to humanise what I’m
doing and bring people closer. I’m fascinated by the
idea that a human connection can be triggered through
inanimate devices.
In 2002, Murakami started a collaboration with Louis
Vuitton that totally revolutionised the traditional
brand’s image. Marc Jacobs – the then creative director
– said: “This experience has been a monumental mar-
riage between art and business.” What do you recall?
T.M. Just as Sting was an Englishman in New York,
Marc Jacobs was an American in Paris, and he was trying
to assert his US identity in France. This compulsion ga-
ve rise to his first collaboration with Stephen Sprouse
and his graffiti. The experiment between art and fashion
was so successful that it spawned other collaborations
including mine. It was clearly an epic transition. Nowa-
days collaborations are an everyday thing, but we should
always remember who the pioneers were.
V.A. It was a completely revolutionary experiment
– mixing art and fashion, and doing it without any
compromises. It was also a crucial moment for the
development of my creativity. Murakami’s ability to
deconstruct and his aesthetic and conceptual freedom
have been totally inspiring for me.
Today Abloh is the artistic director of Louis Vuitton’s
menswear line. What do you think about this coinci-
dence?
T.M. I think his position isn’t very different to Marc’s
when he was at Louis Vuitton. With an Afro-American
at the helm of a Parisian fashion house, Virgil’s work is
marking an epoch too. I expect him to push his identity
more and more in this sense. It’s a change that indicates
fashion’s positive instability, emphasising how it conti-
nues to absorb different stimuli to evolve in a way that’s
often even more free than art.
Among the works you’ve presented, there’s one in whi-
ch a self-portrait of Bernini is superimposed with Mr.
DOB (the first character created by Murakami inspi-
red by manga comics). Is there a particular relation-
ship with this Italian architect?
V.A. Bernini was a multidisciplinary artist. He fits in
with my personal feeling that contemporary society is
experiencing a sort of Renaissance. So I wanted to make
a connection between the Renaissance and what Taka-
shi and I are doing today.
In the various exhibitions, the most portrayed work in
multiple versions of colours, materials and supports
is the simple intersection of your most unmistakable
symbols: Abloh’s four arrows and Murakami’s smiling
flower, a sort of icon composed of icons…
T.M. It’s an emblematic gesture. We really wanted to
render our languages indivisible. I think that valuable
art can only be valued years after its creation, not im-
mediately afterwards. When future audiences look at
our work, I’d like them to think of the end of an era
when art was still sheltered in a sanctuary, and when we
were working ceaselessly to bring it outside. •
(Trad. Antony Bowden)
original text page 60
Sølve Sundsbø
by ALESSIA GLAVIANO
“It started with skiing - because we skied a lot, I still do.
Skiing is quite interesting for photography because you
vogue.it n. 819
start with a blank canvas. You have a white background
and then you fill it. I also went to concerts where it is
really black and then you fill it.”
Every photographer, every artist, has taken their own
path which has led them to become who they are to-
day. For Sølve Sundsbø, it all started with empty spa-
ces to be filled. A matter of black, and white. Then
colors came.
“Slowly but surely I fell into fashion and realized what a
beautiful and exhilirating world it is to work in.”
Will the thirst for more realistic aesthetics deprive fa-
shion photography of its illusory power? Do we still
believe that an artist needs to be damned in order to
produce great art? And how has the business of fashion
photography changed in the #MeToo era?
Vogue Italia spoke to celebrated fashion photographer
and filmmaker Sølve Sundsbø about the state of fashion
photography today. With his unique vision defined by
cutting-edge technology and bold challenges to the
two-dimensional nature of photography, Sundsbø is
the perfect example of a fashion photographer who ma-
nufactures dreams. His photographs and videos reject
any rigid adherence to realism, opening a gateway to
an enchanting dimension where imagination and reali-
ty are fused in a catalyst for infinite outcomes. As part
of this year’s Photo Vogue Festival, Sundsbø will also
be the subject of a solo exhibition titled “Beyond the
Still Image”, hosted in the evocative galleries of Milan’s
Palazzo Reale.
In recent years, and particularly with the advent of
social media, there have been increasing claims that
fashion photography promotes unattainable standards
of beauty. The desire to see authentic bodies is un-
doubtedly an important and positive shift but I also
think it would be a mistake if such a yearning for
“truth” ended up censoring fashion photography. After
all, according to Irving Penn, fashion photography is
about “selling dreams, not clothes”. What do you think
about this current tendency in the field?
When people say, “Now the direction is this,” they’re
assuming that that’s always going to be the direction
from then on. But it’s not true. The fashion photo-
graphy world changes every six months, or even qui-
cker, so it’s in perpetual motion. There will always be
a reaction and a counter-reaction. If the trend now
is “everything must be real”, in three years’ time you
can guarantee there’ll be something hyper-glamorous
and retouched again, because that’s how it works. I
take photos of everyday life all the time, so I’m really
comfortable in the world of the super real, but I don’t
necessarily choose to do that when I work. I’ve got four
kids, I get up in the morning, they go to school, they
come home and we feed them - you know, real life. So
when I go to work I want to do something else. I don’t
need to escape glamour and go into reality. I want to go
from a relatively normal life and into a world that still
has a bit more imagination.
Do you think that today we’re finally overcoming the
misconception that in order to be a great artist you ha-
ve to be damned or lead an extreme lifestyle?
For a lot of people, I think all these rules about how
you’re supposed to behave as an artist are just an excu-
se. Especially in the wake of the #MeToo movement,
I think it’s time to question the behaviour of people
who only act the way they do because those around
them or the culture at large have been willing to excu-
se their behaviour. I understand that some artists are
more intense than others, and I respect those who
need to live in a certain way to create. But there’s no
rule that says you have to live in a fantasy world to
create a fantasy world. A good example is Roald Dahl,
who would sit in his room every day with his pencil
and create magical universes out of nothing. I’m not
telling anyone how to live. But it’s time to stop apo-
logising for horrible behaviour under the guise of “it’s
just the way it is”.
I remember what the business was like back in the ’90s
when I was living in New York working as a fashion
photographer’s assistant. I don’t think there are excuses
for treating people badly either psychologically or phy-
sically, but these things were always happening.
Everyone can do something wrong. But it becomes a
problem when it’s a system or someone’s way of wor-
king that repeatedly goes wrong. We’re all human but
there’s a very firm limit for me. When I first moved to
London one of my best friends told me, “If you want
to be a good photographer, you have to be the best
version of yourself.” The lifestyle of a photographer
can be quite dysfunctional, because when you’re in the
studio, you’re the king or queen, and it’s possible to
get lost in that power, in particular if you don’t have
some other part of your life to counterbalance those
dynamics. That unchecked power and responsibility
can lead to problems. That’s why it’s important for me
to have something outside fashion photography – so-
mething personal – that is even more valuable, that
centers me.
Is nature your biggest inspiration?
Yes, but also music, books and science. My friends and
family say I’m quite nerdy. But all these things stimula-
te me and I’m incredibly curious to the point of being
annoying. If someone is having a conversation I always
want to know what they’re talking about. Some people
are shy, I’m curious. And I think that curiosity also in-
forms my work because I want to explore.
I remember David LaChapelle saying, “If you want
reality, take the bus!”
That’s right. And Simon Foxton said, “If you want rea-
lity, look out the window.”
In the exhibition at Palazzo Reale in Milan, there will
be stills, videos and site-specific installations that show
your cutting-edge use of technology, which propels
fashion photography beyond the limits of two-dimen-
sional imagery. What is the main difference for you
between still and moving images?
I think the strength of the still image comes from the
fact that it’s a moment in time where you have to fill
in what happened before and after. You’re in a mindset
where you say, “I’m going to give you a character and
a moment, and you have to guess the rest.” That’s why
photography is such an incredible tool to communicate
with, because it leaves a lot to your imagination. Tran-
sferring this idea to moving images is also a challenge.
With moving images you have to do the same thing but
in maybe 60 seconds. It’s like seeing a scene from a film
and guessing the rest of the movie.
There’s also the idea that your art, photography or film
doesn’t necessarily have to follow a linear narrative.
I think it also has to do with the fact that I don’t like
being told what to do. And I don’t like telling people
what they should think either. If you give that space to
the person looking at the film or picture, there’s a re-
spect for the viewer which I like.
As a fashion photographer, you need a good stylist, go-
od hair and good make-up. On your sets, how much
do you interfere with the choices of these vital team
members?
It depends on the job. But, you know, the best pho-
tographers have the best hair and make-up. Look at
Steven Meisel’s relationship with Guido Palau and
Pat McGrath. It’s the best make-up and hairstyling
combined with the best photographer. It’s incredible.
I tend to come back and work with the same groups
of people because there’s a mutual language and re-
spect. I can guide them but it’s not my strength. If I
think of Mert and Marcus, Mert could probably also
do the make-up and hair. He’s incredible like that, but
I can’t do it.
Which photographers have inspired you?
Penn and Avedon are always the two whom everyone
looks at. It’s like people who make music are influenced
by the great composers. Obviously Nick Knight has
been very important for me because I worked for him.
When I was starting to look at fashion photography,
Nick was leading the way in changing fashion photo-
graphy.
What is beauty for you?
Beauty is overrated. Beauty for me is charisma and kin-
dness. When we meet someone charismatic, they can
make the whole world disappear. It’s an incredible gift,
and Avedon had it. I only met him for a couple of mi-
nutes, but it was as if the whole world disappeared and
left just him and me. It’s like that with beauty too. I can’t
define it, but when you see it you recognise it. •
original text page 226
241
 O ROSC O P O

Novembre Mentre Marte ha ripreso spedito il cammino – a metà mese

esce dall’Acquario ed entra nei Pesci –, rallentano i pianeti
più rapidi, Mercurio e Venere. Il primo nei gradi iniziali del
Sagittario, il secondo negli ultimi della Bilancia. BILANCIA e
SAGITTARIO AVVANTAGGIATI. Leone e Acquario escono
dalla crisi che in estate e a inizio autunno li aveva rallentati.

di MARCO PESATORI

Aria Fuoco Acqua Terra

Acquario | Gemelli Ariete | Leone Cancro | Scorpione Toro | Vergine
Bilancia Sagittario Pesci Capricorno

Acquario L’acuta intelligenza di
Mercurio stende su di voi un velo
protettivo, difendendovi dagli at­
tacchi e dalle intenzioni indelicate.
In amore, l’autunno solleva banchi
di nebbia. Che confondono le forme
e rendono incerte le valutazioni.
Gemelli Mercurio opposto, Vene­
re meravigliosa. Siete confuse ma
bellissime, frenetiche ma adorabi­
li. Vi sfuggono parole involontarie,
ma i vostri occhi si fanno perdona­
re. Distrazioni nel lavoro, ma alla
sera, specie per la terza decade, le
consolazioni d’amore eliminano
tutto dalla memoria. Fantastico.
Bilancia Splendido novembre. Gio­
ve in dolce sestile, diminuiscono
i sensi di colpa. Occasioni nel la­
voro. Si allenta il controllo della
ragione. La terza decade, grazie a
Venere, è seducente e maliziosa. Il
trigono di Marte è azione efficace
nelle battaglie e capacità di scio­
gliersi scaduto il tempo dei doveri.
Ariete Prima decade con passo
baldanzoso. Inarrestabili sia nel
lavoro sia in amore. Nate in apri­
le vigorose, atletiche, combattive,
che non vogliono sonnecchiare
sotto un castagno come in un qua­
dro di Cézanne. Irrequietudine
alternata a improvvisi turbamenti.
Leone Non amate i comportamen­
ti a doppio senso, la parola vi esce
con significato chiarissimo. Ritmi
forsennati e tensioni si stempera­
no da metà mese e un Mercurio
magnifico favorisce la comunica­
zione. Giove fantastico inaugura
il trigono gioioso. Vantate con il
cielo un credito di riconoscenza.
Sagittario Nessun bisogno di
orgoglio o eccessi di grinta per
conquistare gli obiettivi. L’ener­
gia è potente, non si trasforma in
tensione. Nel cuore dell’autunno
una Venere amica lascia in secon­
do piano la ragione. Nelle passioni
non ci sono debolezze che vi riem­
piono di scrupoli.
Cancro Non state rannicchiate
nell’angolino dell’inconscio, te­
mendo che qualcuno vi scopra.
Marte d’attacco: più di una esce e
si sbilancia, con forza e piglio de­
ciso. Propulsione desiderante non
in contraddizione con l’animo dai
sentimenti morbidi e delicati.
Scorpione Il tono provocatorio
di Marte non vi innervosisce né
scompone. Siete guerriere vere
che si esaltano nella lotta. Sapete
essere fredde, e stare calme, anche
se la quotidianità è elettrica. Nel
lavoro usate la vostra influenza su
collaboratori e clienti. Non man­
cate i traguardi.
Pesci Nello sguardo di qualcuno
si accende il sottile filo conduttore
che porta a conclusioni esplicite.
Vuole conoscervi. È certo che da
qualche vostro prezioso segreto
dipende la sua felicità. La cosa vi
diverte, ma attente a una certa in­
genuità, specie se siete di febbraio.
Toro Buone notizie. Si concludo­
no gli aspetti negativi di Giove e
Marte. Anche personalità resisten­
ti come le vostre cominciavano a
non poterne più. Da metà mese
effetti evidenti. Sembrava che quel
senso di pesantezza, che aveva ri­
guardato anche l’amore, si stesse
prolungando all’infinito. Svolta.
Vergine Non permettete all’an­
sia di mescolarsi alla tristezza. Il
pensiero non indugia su se stesso,
con il rischio di creare paludi. Stile
concreto, sorriso morbido, slancio
autentico. Obiettivi centrati. La vo­
stra freccia colpisce dove deve, come
partita dall’arco di un maestro zen.
Capricorno Anche se non amate
quelle persone di mondo che, di­
sperdendosi fuori di sé, non trova­
no più la loro regione interiore, nel
mondo vi muovete a vostro agio,
senza smarrirvi. Soprattutto non
smarrite la strategia, che vi fa con­
quistare il risultato. In amore leg­
gerezza e dolce evanescenza.

Scenari
Venere in Bilancia è il trionfo di bellezza ed eleganza. Per Plotino,
e per il suo maestro Platone, la bellezza era una via per arrivare
al divino, perché solleva emozioni che travalicano i confini
dell’umano. Con Venere in Bilancia la bellezza torna a essere
classica. Equilibrio delicato di armonie, senza cadute nell’eccesso.

242 vogue.it n. 819

 NOVEMBRE 2018 N. 819
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243
 Casa FONT FORMA, FONDERIA NEBIOLO, 1968.
C’è una grande squadra dietro un carattere neutro e universale. Disegnato da Aldo No-

Italia varese in team con sette designer – Bruno Munari, Franco Grignani, Giancarlo Iliprandi,
Ilio Negri, Till Neuburg, Luigi Oriani, Pino Tovaglia – , Forma nasce in epoca di rivolu-
zioni, sull’onda del successo dei celebri lineari della scuola svizzera, Helvetica e Univers.
I testi, così, si leggono meglio, la resa di stampa è perfetta. È la forma della semplicità. •

testo di francesca molteni. foto courtesy archivio tipoteca italiana. negli anni 50 aldo novarese (1920-1995) ha creato oltre 60 caratteri quali il garaldus, il juliet, il cigno, il recta.

244 vogue.it n. 819

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CULTURE LGBTQ Parenthood FASHION
Shawn Stussy Returns
Five Fresh Designers
Fashion Controversy
Very Personal Places
Remarkable Men by Paolo Roversi
Queer Families by Ethan James Green
Csikós of Hungary by Tom Johnson
A Picture Of The Côte D’Azur
by Benjamin Alexander Huseby
OBJECTS 180 Winter Wants for the City
and Mountain
COVER Richard Gere in Giorgio Armani
Photograph by Brigitte Lacombe
Styling by Paul Sinclaire

N O V
2 0 1 8
N.002
€8,00
80819

I N E D I C O L A D A L 1 6 .1 0 .1 8
ISSN 0042-8027

9 770042 802016

REMARKABLE
PEOPLE
AND PLACES
dior.com - 02 38 59 59 59
SH O P O N LI N E AT FEN D I .CO M
calvinklein.com/205
We met a group of happy families – father and father, son and son; lit-
tle girls climbing on their fathers’ laps; fathers throwing their laughing
children up in the air. Unconventional, happy families whose love should
ser ve as a rebuke to those who think they are justif ied in giving love a
certif icate of authenticit y – and to those who feel they can decide what is
natural and what is not.
We met an actor whose appearances in magazines throughout all these
years can be counted on the f ingers of two hands – whose role in a certain
famous f ilm changed the canon of men’s fashion.
We met a master of photography. We asked him to portray a group of
men he considers remarkable, and to tell L’Uomo what it is he sees through
his lens that def ines their special nature (his answer: “a veil of myster y –
that strange, impalpable quality that takes you to a borderline area between
light and shadow, a place where you feel slightly lost, or alien”).
We travelled to feel lost, and alien. We journeyed to reach a plain in
Hungar y. We roamed along the rocks and seasons of the Riviera. We ven-
tured to unexpected corners of the world where seven great photographers
cast their gaze: a rock sculpted by the sun in La Coruña, a stretch of sea off
the Australian coast, a statue of Lenin in Transnistria, an expanse of lawn
in Derbyshire. And then we went to Iran, to Jeonju, to Hier ve el Agua, in
search of particular heartfelt places and stories that deser ved to be told.
This issue is a celebration of remarkable people and places, because it is
the chance encounters, the places where we end up unexpectedly, certain
dance lessons offered to us by fate, that truly make us who we are.
Emanuele Farneti
31
 Quality is Our Business Plan
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MICOL BOZINO RESMINI, ALIX BROWNE, JÖRG M. COLBERG, BENJAMIN ALEXANDER HUSEBY, TOM JOHNSON, ANDERS KYLBERG,
Special thanks
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ANASTASIA BARBIERI, PATRICK BIENERT, BEAT BOLLIGER,
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HANS FEURER, JOE MCKENNA, ALASTAIR MCKIMM, SARAH MOON,
KRYS LEE, SARAH LEEN, JEAN-FRANÇOIS LEROY, FREDERIC MARTIN-
Style MAX PEARMAIN, ROBI RODRIGUEZ, SØLVE SUNDSBØ, BILLAL TARIGHT,
BERNARD, ANTONIO PRIVITERA, NICK REMSEN, SILVIA SCHIRINZI,
CHARLOTTE COLLET, HANNES HETTA, MATT HOLMES, JAY MASSACRET VINCENT VAN DE VIJNGAARD, MAX VON GUMPPENBERG
ALI SMITH, MASAFUMI SUZUKI, GUY TREBAY
PAUL SINCLAIRE, EDOARDO CANIGLIA (Fashion Contributor), Translations
VANESSA CONTINI (Celebrity Casting) ANTONY BOWDEN, LCC, GIUSEPPINA ONETO, CHIARA STANGALINO

Direttore Responsabile Attualità Bellezza Vogue.it MARIUS MADALIN MUSAT

EMANUELE FARNETI LELLA SCALIA Caporedattore SUSANNA MACCHIA ALESSIA GLAVIANO Web Editor Contributor
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GIOVANNI BIANCO
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ALAN PRADA GIORGIA GENOCCHIO SILVANA SACCHETTI
Art Consultant Fashion and Accessory Market Director
FRANCESCA GIORGETTI Segreteria di Direzione
Progetti Speciali Moda e Talents MARIUCCIA CASADIO MIRTA TRASTULLI
ITALO PANTANO Contributor
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Reparto Artistico NICOLETTA SPOLINI
SARA SOZZANI MAINO ROBERTA PINNA LAURA CAZZANIGA
LAURA MARINO (Caporedattore)
Fashion Assistant Contributor Moda, vogue.it
Photo COSTANZO COLOMBO REISER Special Project
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Sales & Marketing Advisor ROMANO RUOSI
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Moda e Oggetti Personali MATTIA MONDANI, Direttore.

Beauty MARCO RAVASI, Direttore. Grandi Mercati e Centri Media Print MICHELA ERCOLINI, Direttore. Arredo CARLO CLERICI, Direttore.
Triveneto, Emilia Romagna, Marche LORIS VARO, Area Manager. Toscana, Umbria, Lazio e Sud Italia ANTONELLA BASILE, Area Manager.
Mercati Esteri MATTIA MONDANI, Direttore. Uffici Pubblicità Estero - Parigi/Londra: ANGELA NEUMANN. New York: ALESSANDRO CREMONA
Barcellona: SILVIA FAURÒ. Monaco: FILIPPO LAMI

Presidente GIAMPAOLO GRANDI

Amministratore Delegato FEDELE USAI
Direttore Generale DOMENICO NOCCO
Vice Presidente GIUSEPPE MONDANI, Direttore Centrale Digital MARCO FORMENTO, Direttore Circulation ALBERTO CAVARA, Direttore Produzione
BRUNO MORONA, Direttore Risorse Umane CRISTINA LIPPI, Direttore Amministrazione e Controllo di Gestione LUCA ROLDI, Branded Content Director
RAFFAELLA BUDA, Digital Marketing MANUELA MUZZA, Social Media ROBERTA CIANETTI, Digital Product Director PIETRO TURI, Head of Digital Video
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Sede: 20123 Milano, Piazzale Luigi Cadorna 5, Tel. 0285611 - Fax 028055716. Padova, via degli Zabarella 113, Tel. 0498455777 Fax 0498455700. Bologna, via Carlo Farini 13, Palazzo Zambeccari, Tel. 0512750147 - Fax
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Redazione: 20123 MILANO - Piazzale Cadorna 5 - Tel. 0285611

REMARKABLE REMARKABLE REMARKABLE

PEOPLE PEOPLE PEOPLE
AND PLACES AND PLACES AND PLACES

CULTURE LGBTQ Parenthood FASHION
Shawn Stussy Returns
Five Fresh Designers
Fashion Controversy
Very Personal Places
N O V N O V N O V
2 0 1 8 2 0 1 8 2 0 1 8
N.002 N.002 N.002
Remarkable Men by Paolo Roversi OBJECTS 180 Winter Wants for the City CULTURE LGBTQ Parenthood FASHION Remarkable Men by Paolo Roversi OBJECTS 180 Winter Wants for the City
€8,00 €8,00 €8,00
Queer Families by Ethan James Green and Mountain Shawn Stussy Returns Queer Families by Ethan James Green and Mountain
Csikós of Hungary by Tom Johnson Five Fresh Designers Csikós of Hungary by Tom Johnson
A Picture Of The Côte D’Azur COVER Richard Gere in Giorgio Armani Fashion Controversy Richard Gere by Brigitte Lacombe COVER Joe Alwyn in Prada
by Benjamin Alexander Huseby Photograph by Brigitte Lacombe Very Personal Places A Picture Of The Côte D’Azur Photograph by Scott Trindle
Styling by Paul Sinclaire by Benjamin Alexander Huseby Styling by Jay Massacret

CULTURE LGBTQ Parenthood FASHION
Shawn Stussy Returns
Five Fresh Designers
Fashion Controversy
Very Personal Places
Remarkable Men by Paolo Roversi
Queer Families by Ethan James Green
Csikós of Hungary by Tom Johnson
Richard Gere by Brigitte Lacombe
A Picture Of The Côte D’Azur
by Benjamin Alexander Huseby
OBJECTS 180 Winter Wants for the City CULTURE LGBTQ Parenthood FASHION Remarkable Men by Paolo Roversi OBJECTS 180 Winter Wants for the City CULTURE LGBTQ Parenthood FASHION Remarkable Men by Paolo Roversi OBJECTS 180 Winter Wants for the City
and Mountain Shawn Stussy Returns Queer Families by Ethan James Green and Mountain Shawn Stussy Returns Queer Families by Ethan James Green and Mountain
Five Fresh Designers Csikós of Hungary by Tom Johnson Five Fresh Designers Csikós of Hungary by Tom Johnson
COVER Kolos Halasz in Valentino Fashion Controversy Richard Gere by Brigitte Lacombe COVER Dennis Williams in Balenciaga Fashion Controversy Richard Gere by Brigitte Lacombe COVER Matteo Roversi in Fendi
Photograph by Tom Johnson Very Personal Places A Picture Of The Côte D’Azur Photograph by Ethan James Green Very Personal Places A Picture Of The Côte D’Azur Photograph by Paolo Roversi
Styling by Charlotte Collet by Benjamin Alexander Huseby Styling by Matt Holmes by Benjamin Alexander Huseby Styling by Hannes Hetta

N O V
REMARKABLE N O V
REMARKABLE
2 0 1 8 PEOPLE 2 0 1 8 PEOPLE
N.002
€8,00
AND PLACES N.002
€8,00
AND PLACES

Cover by Brigitte Lacombe Cover by Tom Johnson Cover by Ethan James Green Cover by Paolo Roversi Cover by Scott Trindle
Styling by Paul Sinclaire Styling by Charlotte Collet Styling by Matt Holmes Styling by Hannes Hetta Styling by Jay Massacret
Richard Gere wearing Giorgio Armani Koloz Halasz wearing Valentino Dennis Williams wearing Balenciaga Matteo Roversi wearing Fendi Joe Alwyn wearing Prada

32
F O OT W E A R | ACCE S S O R I E S | L E AT H E R G O O D S | B R U N O M AGL I . CO M | 1 2 0 WO O S T E R S T R E E T , N E W YO R K , N Y
VIA DELLA SPIGA 48, MILANO, ITALY
 PRESENTS

A FILM WRITTEN & DIRECTED BY HUMBERTO LEON STARRING JAY ELLIS

Available on kenzo.com/theeverything
TABLE OF CONTENTS L'UOMO NO. 002

GLOBAL EXPOSURE
The locations that fire
photographers to create
Page 56 – 68

FAR-FLUNG
FICTION
Five female authors evoke
the power of place
Page 106 – 112

MENSWEAR
MATTERS
PAOLO ROVERSI By Tim Blanks, Anja
Capturing the essence of personality Cronberg, Angelo
Page 84 – 87 Flaccavento, Frédéric
Martin-Bernard, Masafumi
Suzuki and Guy Trebay
Page 77 – 82

OUR ICONS
OF STYLE
Seminal fashion images as chosen
by Joe McKenna, Anastasia
Barbieri, Max Pearmain, Alastair
McKimm, Beat Bolliger
Page 46 – 54
THE NEW GUARD
Five fresh designers making waves
in menswear
Page 91 – 95

SHAWN STUSSY:
THE MAN WHO
INVENTED
STREETWEAR
By Luke Leitch
Page 96 – 99
BIG SHOTS
Encapsulating the problems and power
of modern masculinity
LGBTQ Page 71 – 75
PARENTHOOD
By David Kaufman
Page 88 – 89

JOE ALWYN
From student bar
to movie star
Page 100 – 105
TABLE OF CONTENTS L'UOMO NO. 002

RICHARD GERE
Photographs by Brigitte Lacombe
Styling by Paul Sinclaire
Text by Alix Browne
Page 178 – 187

REMARKABLE MEN
Photographs by Paolo Roversi
Styling by Hannes Hetta
Page 122 – 151

THE CÔTE D'AZUR

Photographs by
Benjamin Alexander Huseby
Text by Thomas Persson
Page 188 – 197

QUEER FAMILIES CSIKOS OF HUNGARY

Photographs by Photographs by Tom Johnson
Ethan James Green Styling by Charlotte Collet
Styling by Matt Holmes Page 162 – 177
Page 152 – 161
TABLE OF CONTENTS L'UOMO NO. 002

SHOES
Boots, Sneakers, Army, Evening
Page 220 – 225

GARMENTS
Puffer Jackets, Montgomery, Sport
Jackets, Sheepskin Coats, Knitwear,
Shirts,Trousers, Denim
Page 208 – 219

ACCESSORIES
Backpacks, Suitcases, Goggles, Sunglasses,
Techno Watches, Elegant Watches
Page 200 – 207

MOTLEY
Equipment, Creams, Perfumes
Page 226 – 231

L'UOMO AFFAIRS Page 233 – 247

ITALIAN TEXTS Page 248 – 256
LAST PAGE Page 258
 Selected reports from the

Men’s World

CULTURE Image makers:

Stylists choose the photographs
that fire their creativity
Page 46 — 54

World view:
Locations and landscapes that
leading photographers love
Page 56 — 68

Man in a moment:
Photo editors on the shots that
encapsulate modern masculinity
Page 71 — 75
LGBTQ parenthood:
Building joyful families
in a prejudiced society
Page 88 — 89

Five fresh designers:

Meet the original thinkers
making moves in fashion
Page 91 — 95

Shawn Stussy:
The godfather of streetwear
on how it all began
Page 96 — 99

Menswear’s big questions: Joe Alwyn:

Six critics and tastemakers The English actor on his rise
tackle the issues that matter from student to superstar
Page 77 — 82 Page 100 — 105

Paolo Roversi: Short stories:

On the alchemy between Leading female authors evoke
photographer and subject the potent power of place
Page 84 — 87 Page 106 — 112

45
46
IMAGES THAT
DEFINED US Edited by Alan Prada Clothes might be the raw material of fashion, but they are not the final product.
The factor that turns one into the other – clothing into fashion – is the way
in which they are seen. In turn, the way in which clothes are seen depends on
the manner in which they are worn. Here five contemporary stylists – whose
job is to shape a message via the manner in which clothes are worn – select the
seminal images that first made them realise the power and potential of fashion
photography, and which continue to inspire them today.

In the late 1970’s, the American photographer Bruce Weber started to change
the way we look at men and men’s fashion photography. Until then men had Joe McKenna on
mostly been props in women’s fashion pictures, or modelled in a very straight-
forward “catalogue” kind of way. BRUCE WEBER
But Bruce’s models looked like they led real lives. They didn’t look like
they were posing for the camera. They drove their pick-up trucks, played with
their dogs or kissed their girlfriends.
They weren’t afraid to show they had emotions. And the clothes they wore
looked ‘real’ as if they belonged to them. His men’s fashion pictures have never
just been about the fashion. They are about style.

Matt Dillon, Joshua Tree, 1983. Photo Bruce Weber. 47

CULTURE ST YLISTS L' U O M O NO. 002

In this iconic photo by Helmut Newton titled Rue Aubriot, the model is posing
Anastasia Barbieri on at night in a deserted Parisian lane illuminated by streetlamps.

HELMUT NEWTON I chose this image because it has always fascinated me: the flawless androgynous
pinstripe suit, the nonchalant elegance of the model’s attitude, the enigmatic aura
of the night. This photo sums up my aesthetic canons for both men and women.
In an interview with The New York Times in 1988, Newton explained that the
idea of this photo was to immortalise a man-woman standing in a street at night.
I love this picture because of its classicism. I also think it’s particularly relevant
in this genderless moment of fashion and (perhaps) of society in general.

48 Le Smoking, YSL, rue Aubr iot, Par is, 1975. Photo Helmut Newton.
CULTURE I M AGES

Max Pearmain on The work of Ray Petri was a revelation to me when I discovered it, aged I guess
around 16. It was one of the f irst times I’d seen styling really lead an image.

RAY PETRI I could choose any number of images that he produced with the likes
of Jamie Morgan and Roger Charity, but these photos by Morgan of Felix
Howard always stick in my mind. They’re classic, contemporary, beautiful,
hard, British, international, now, then, masculine, feminine, strong, soft,
real, fantasy, controlled, wild, stoical, sentimental and modern. They give
me such energy every time I pick them out.

50 Outrage. Photo Jamie Morgan. Styling Ray Petr i. From the Buffalo Archive,’Killer’ ser ies. The Face 1986.
 I remember the moment when I saw this series by David. I had just moved to
Alastair McKimm on London and I was on the Tube from East London to Portobello. I found the

DAVID SIMS images so powerful because it was the f irst time I had seen boys like myself
and my friends from Belfast in a fashion context. They had buzz cuts. They
were real, rough and ready. The girl next to me on the Tube pointed at this
image and said, “Oh, that’s my boyfriend!” It was a surreal moment.

52 isolated heroes : n°16 : andreas : july 1999. Photo David Sims/Trunk Archive
SHOWROOM MILANO | NEW YORK | MOSCA T. 8 0 0 8 3 5 0 3 9 L U I G I B I A N C H I M A N TOVA . I T
CULTURE I M AGES L' U O M O NO. 002

Beat Bolliger on When asked to select a photograph that I have always loved in the history
of men’s fashion and photography I had quite a hard time trying to narrow

PETER HUJAR it down to only one. However I have chosen Peter Hujar’s portrait of David
Wojnarowicz: this is a picture that I love and continue to use as a point of
reference throughout my work. It is a classic yet very intimate image, a simple
potrayal of a powerful individual, with a hint of sexuality.

54 David Wojnarowicz blowing smoke r ings [Dianne B]. Photo Peter Hujar.
© 1987 The Peter Hujar Archive LLC. Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco.
THE TRAVELLING EYE
Edited by Thomas Persson
Sometimes we travel to find them, other times they just appear before our eyes
– remarkable places that capture our imagination and stir our emotions. There
are moments in life when we find ourselves exposed to sights of such beauty or
distinctiveness that we want to keep them forever. In this portfolio we invited
eight different but all remarkable photographers to choose an image of an ex-
traordinary place that made them grab their cameras and eternalise their vision.

Sølve Sundsbø
Gothic Lodge
British Columbia, Canada, 2016
“It’s an addiction. Once a year I go to a place that soothes this pain. We have days of
frustration and we wait for nature to agree with us. Then there are days when gravity
and time seem to disappear. Everything slows down, becomes less severe, softer and
more forgiving. All you hear in the deep forest is your heart, your breath. and sometimes
your own laughter.”

What were the circumstances that led to the moment of this picture?
I was heli-skiing with friends. This is where we were coming to the end of our run
and we were looking for a spot to land the helicopter.
What were the emotions you felt when you first laid eyes on this place?
A feeling of coming home.
What was the most remarkable thing about the scene?
There were no people around. It was an absolute wilderness.
Do you always travel with a camera?
Always: a Canon G11 or lately a Canon G5x.
How would you describe your chosen photograph in three words?
Peaceful, wild, promising. 

Norwegian-born Sølve Sundsbø is recognised as one of the world’s leading image-makers. He

is celebrated for his versatility, both in his open-mindedness towards new technologies, from
3D scanning to hand-painted retouching, and in the breadth of his style. His award-winning
photographs have been widely exhibited and published in the world’s foremost fashion publi-
cations. He lives in London with his wife and children.
C U LTU R E PH OTO G R A PHY L' U O M O NO. 002

Patrick Bienert and

Max von Gumppenberg
Parliament House
Tiraspol, Transnistria, 2016
“It is a place that is stuck in time; the melancholy of the Soviet era is visible every-
where. Soon after we arrived we were interviewed by the Transnistrian KGB, which
still exists in the country and advised us to leave the same day. After the interview
we were lucky and met the president’s stepdaughter on the street. She helped us to
stay, and in every way possible she made this an unforgettable journey.”

What’s the story behind this photo?

The image was taken on a journey to Tiraspol, which is the capital of the internation-
ally unrecognised state of Transnistria, situated between Ukraine and Moldova. It’s a
forgotten remnant of the Soviet Union. We went there to portray the disappearing
youth. Lots of younger people leave the country when they finish school, since there
aren’t many job opportunities. Later we also came back to Tiraspol for a fashion story.
Do you always travel with a camera?
We always have a camera with us. It depends on the project, but we mainly take smaller
reportage cameras.
How would you describe your chosen photograph in three words?
Travels in time.

The German photographers Patrick Bienert and Max von Gumppenberg have been working
together since 2007. They explore concepts of culture and identity with an approach grounded
in the heritage of street and documentary photography. Their editorial commissions have been
published in Arena Homme Plus, Another Magazine, Dazed & Confused, Man About
Town, Modern Matter, Pop, Re-Edition, Purple, T Magazine and Vogue Italia. In late
2017 they published their first book Wake Up Nights about rave culture in Ukraine.

58 Photog raph by Caption

WWW.COSTUMENATIONALSCENTS.COM
C U LTU R E PH OTO G R A PHY L' U O M O NO. 002

Billal Taright
Chatsworth
Derbyshire, United Kingdom, 2017
“The first time I went to Chatsworth was to see the House Style: Five Centuries
of Fashion exhibition. I’d mentioned to my friend Louis Mosley – whose great aunt
was Debo Devonshire – that I hadn’t been, so we went for a two-day stay and tour.
He told me anecdotes about the family and the Mitford siblings (his grandmother was
Diana Mosley), and how they wrote to each other throughout their lives.”

What were the circumstances behind the moment these pictures were taken?
I tend to be a distracted visitor when it comes to exhibitions and visiting places of
note. As you can tell from my pictures, the details of the house caught my imagination.
I was going around the exhibition, admiring everything from Stella Tennant’s Helmut
Lang wedding dress to the Lord’s wool jumpers to Debo Devonshire’s collections of
Turnbull & Asser shirts and insect jewellery. And in between the exhibited rooms,
I photographed the house.
What emotions did you feel when you first saw this place?
I arrived at Chatsworth in the middle of the day. The drive to the house is quite
spectacular. It appears from afar as you cross the bridge. More than just another grand
English house, it feels otherworldly and spectacular. That exact feeling is captured in a
scene from Joe Wright’s Pride & Prejudice when Elizabeth Bennet gets to Chatsworth
(in lieu of the fictional Pemberley House). Not that I felt like a Jane Austen heroine,
but it wasn’t far off.
How would you describe your chosen photograph in three words?
Lost in time.

French-Algerian Billal Taright grew up in Paris and studied photography at the École des Arts
Décoratifs. He worked at Dior in John Galliano’s studio before moving to London where he joined
Mario Testino’s creative team. He specialises in portraiture, interiors and sometimes fashion. An
exhibition of Taright’s personal work was inaugurated on 20th September in London.

60
 #BoggiGentlemanStyle

A GENTLEMAN
KNOWS THE VALUE
OF TIME.
- Rule 36 -

boggi.com
C U LTU R E PH OTO G R A PHY L' U O M O NO. 002

Hans Feurer
Great Barrier Reef, Australia, 1983
“The Great Barrier Reef is a belt of coral reefs stretching about 2,000 kilometres
along the eastern side of Australia. My first contact with this ‘jewel of our planet’
was in 1979 when I had an agreement with Vogue Australia to do fashion stories in
different parts of Australia. Since I’m a passionate angler (of the catch-and-release
variety), I’ve returned to the reef on many occasions in later years.”

What were the circumstances that led you to take this picture?
I was on a fishing boat on the inside of the reef.
Describe your emotions when you first set eyes on this place.
My mouth and eyes were wide open. 
What’s the most remarkable thing about the image?
It looks like the traces of a paintbrush, and the surface of the ocean creates an oscil-
lating sensation.
Do you always travel with a camera?
Actually, I rarely take a camera with me when I travel. The most important thing for
me is to keep a memory of what I see with my own eyes.
 
Hans Feurer is a renowned Swiss fashion photographer. A great fisherman and collector of primitive
art, Feurer started his career in London in the 1960s as an art director in advertising and for The
Telegraph colour supplement before embarking on a daring journey through the wilderness of Afri-
ca – his great passion. His work has been published in numerous magazines including the British,
French and American editions of Vogue. He currently lives in Zurich, Switzerland.

62
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C U LTU R E PH OTO G R A PHY L' U O M O NO. 002

Sarah Moon
The Port of Hamburg, Germany, 2015
“I was preparing my exhibition at the Deichtorhallen, the House of Photography in
Hamburg. In my free time I went to the harbour, and that’s where it all began: my
fascination with these machines, industrial places and architecture. It was an interest
that continued over time in Dunkirk, St Petersburg, Tokyo...”

Describe the moment when this photo was taken.

It was a rainy day in November, and I was on the boat that goes along the river.
What kind of emotions struck you when you first saw this place? 
I thought it was mysterious and dramatic. There weren’t any workers – it was as if the
machines had taken over.  
Do you always travel with a camera?
Yes I do, just in case. 
How would you describe your chosen photograph in three words? 
Evoking a guillotine.

A fashion photographer since 1970, Sarah Moon started her personal work in 1985. Since
then, she has created and developed a highly distinctive universe around three main themes:
the evanescence of beauty, uncertainty and the passing of time. Her work has been exhibited
in galleries and museums all around the world and published in many books. She has directed
several films as well as documentaries on photographers and photography. She lives in Paris.

64
C U LTU R E PH OTO G R A PHY L' U O M O NO. 002

Robi Rodriguez
La Coruña, Spain, 2010
“This image was a four-hour exposure. The rock is near my mother’s house in Spain.
Since I took it at midnight, I decided to take a nap while the exposure was happening,
but I didn’t set an alarm on my phone. I ended up waking up at 6am, but it only
meant that the image was a half stop overexposure, which is actually perfect to get
detail into the shadows of a negative.”

What emotions did you feel when you first laid eyes on this place? 
I saw the whole project before my eyes: a small rock that represented a mountain. It
could have been a location in a Disney film, but also a set from a David Lynch movie.
That combination represented the surreal intention of the project, as if Snow White
had became a character in Blue Velvet.
What was the most remarkable thing about the scene? 
The way its form resembled a mountain, and how it read the light at night, in combi-
nation with the background created by the water and vapour splashing into it.
Do you always travel with a camera?
I do, with a Plaubel Makina 67 and a Konica Hexar AF. This image was actually taken
on a large-format wooden Wista camera.
How would you describe your chosen photograph in three words? 
Surreal, dual, juxtaposing.

Robi Rodriguez was born in La Coruña, Spain, and went on to study at the Art Center College
in Pasadena, Los Angeles, where he assisted photographer Bob Richardson for two years. He then
moved to London in 2004 to pursue his career in photography. His vivid, uniquely compelling
imagery draws on his lifelong love of cinema. His work has been exhibited at London Art Fair,
the Gallery for Modern Photography in Berlin and the IMA Concept Store in Tokyo.

66
C U LTU R E PH OTO G R A PHY L' U O M O NO. 002

Vincent van
de Wijngaard
Palais des Congrès Acropolis
Nice, France, 2009
“I was following the footsteps of Henri Matisse in Nice when I encountered a man
playing with his dog near a place called Acropolis. I spent some time photographing
what to me looked like mobsters, with their dark sunglasses and long coats. It was a
strange sight. Then I concentrated on the man and the dog. I took several other good
shots, but I only got one with the dog leaping into the water.”

Describe your feelings when you first laid eyes on this place.
The scene was rather surreal. The surroundings were in sharp contrast with the beauty
of the buildings in this area of Nice.The light was just perfect, and there was silence.The
architecture reminded me of some buildings I had photographed in Caracas,Venezuela.
What’s the most remarkable thing about the image?
All the elements come together in this photo – timing, composition and geometry –
and you can feel it’s happening as a particular situation unfolds.
Do you always travel with a camera?
Yes, always. I took this picture with my Nikon F5.
How would you describe your chosen photograph in three words?
A happy coincidence.

Dutch photographer Vincent van de Wijngaard’s command of narrative and his ability to work in
alternately stark and elaborate locations has led to assignments for Another Magazine, Vogue
UK, Vogue Italia, Interview and many others. His photographs and films have been collected
and exhibited by museums and galleries worldwide.Van de Wijngaard’s feature-length film There
Is No Blue Without Yellow and Orange, which charted the living and working environments
of the painter Vincent van Gogh, premiered at the National Art Center, Tokyo, in 2010.

68
 WORLDS APART:
PASSION, POWER,
PAIN, PROTEST Edited by Alessia Glaviano A perfectly-observed, serendipitously-timed reportage photograph has the power
to short-circuit our subjectivity. It puts us in another person’s shoes. It makes
us wonder what we would do, what we would think, and how we would feel
were we were the one caught in that frame. Here, five famed photo editors select
a shot that sparked that visceral jolt of empathy in them, then ref lect on the
feelings and thoughts – the out of body experience – it prompted.

A Syrian Refugee Walks Through a Rainstorm in Greece

Photograph by Yannis Behrakis
Chosen by Jean-François Leroy
It is 10 September 2015, and we are near Idomeni in Greece.
On an isolated road, a Syrian father carries his daughter in
a loving embrace. Today, when we are told about migrants
in a completely abstract way, with individuals reduced to
anonymous numbers and abstract quantities, this man be-
comes emblematic of all migrants. He embodies them. He
gives them life. Emerging from abstraction, this father and
his little girl become the reality of this phenomenon to
which Europe has never been able to provide an adequate
response. He gives her a cuddle and a kiss on the cheek.
We guess that the girl is tired. No doubt frightened. He
comforts her, or at least he tries to. He does not know
where he is taking her. He does not know if he will be
able to feed her that day or the next. He doubtless does
not know where they are going to sleep. I saw this picture
by Yannis Behrakis a few days after it was taken. It gave
me goose bumps. I could never forget it. To tell the truth,
I have never tried to forget it.
Today, when the news brings me new information about
migrants, I think of this image. I do not know what has hap-
pened to this man. Nor to his little girl. Did they manage
to cross the borders? Were they beaten? Did they come up
against the ever-expanding barbed wire fences that some
countries have put in their way? Did they find a country,
a land that would welcome them?
I will certainly never know. But I think of them. Often.
Jean-François Leroy has worked for Pho-
to-Reporter, Le Photographe, Pho-
to-Revue and Photo Magazine. Since
September 1989 he has been running Visa
pour l’image, the international photojour-
nalism festival. From 1997 to 2009 he
partnered with Hachette Filipacchi through
the company Images Evidence, which he
bought in July 2009 and of which he is
now the CEO.

© REUTERS/Yannis Behrakis/Contrasto 71
C U LTU R E PH OTOJ O U RN A L IS M
Angela Merkel Speaks with Donald Trump at the Quebec G7
Photograph by Jesco Denzel
Chosen by Jörg M. Colberg
Here he is, the most powerful man on the planet, Donald
Trump, currently also the most famous embodiment of the
toxic narcissistic male who underpins so many of the various
populist/neo-fascist movements all over the world. It’s a
telling picture. It’s equally telling that what is being revealed,
what has, in fact, been known for years now, is unlikely to
change anyone’s mind: resisting those around him, the toxic
man is reduced to acting like a toddler whose defiance is
expressed in his body language and in that vacant stare.You
can tell me whatever you want, but I will do whatever I
want – that’s the message.
In contrast, the only woman in the picture, Germa-
ny’s Chancellor Angela Merkel, does indeed look like a
‘mama’. That’s her nickname in Germany (Mutti), because
of her approach to solving problems: patiently waiting
until they go away while relying on common sense. Both
72
L' U O M O NO. 002
approaches to dealing with people – the man’s toxic nar- Jörg M. Colberg is a writer and photogra-
cissism and the woman’s passive resigned reliance on sense pher based in Northampton (Massachusetts,
making sense eventually – are currently showing their USA). He has been writing about photog-
shortcomings. Which one will prevail we currently don’t raphy on his website Conscientious.com
know. I would like to believe that, as Martin Luther King since 2002. He is an assistant professor of
said, “The moral arc of the universe is long, but it bends photography at Hartford Art School, Uni-
towards justice.” versity of Hartford.
Beyond our common larger good, though, there is that
insidious challenge posed by the toxic narcissist to his fellow
men: Are you with me? The many women who have contrib-
uted to #MeToo are not. Every man has to face the challenge
for himself: how much of that toxic narcissism do you have in
you? How much of that can you, and do you, want to get rid
off? However terrible our times are right now, they provide
us men with a teachable moment, with an opportunity to
come to grips with what it means to be a man.
© Jesco Denzel/Laif/Contrasto
C U LTU R E PH OTOJ O U RN A L IS M
El Paso, Texas, 1990
Photograph by William Albert Allard
Chosen by Olivier Laurent
“To be a man is to have the heart of a man. Integrity, decency,
sympathy: these are the things that make a man a man”, said
Arthur Dales in an episode of The X-Files. I grew up not
understanding baseball – this American game that can go on
for hours with little to no action. And yet this photograph,
taken by William Albert Allard in the summer of 1990, has
always fascinated me, pulling me into a realm of innings and
home runs. It’s a simple shot, one that has no historical sig-
nificance or influence. It merely portrays the third baseman
for the El Paso Diablos at the start of a Minor League game.
“His white pinstriped uniform is bright against a blue
Texas sky with scattered clouds clustered above the grassy
field,” says Allard. The player bows his head, clutching his
baseball cap to his heart, as the national anthem plays in the
modest stadium. I think that bowed head is what first caught
my eye, and that etched this picture into my mind. Through
his body language, I feel this player’s passion for baseball. I
© William Albert Allard
L' U O M O NO. 002
sense his integrity, his decency, his sympathy. Olivier Laurent is an international photo
These are the qualities that used to be associated with editor at The Washington Post. Previously,
the sport of baseball across America, from its ballparks to its he was the editor of LightBox, Time maga-
silver screens as Robert Redford took on the role of Roy zine’s photography website, and an associate
Hobbs in The Natural or when Kevin Costner built his Field editor for the British Journal of Photog-
of Dreams. These are qualities that, I feel, are now too often raphy. He has judged numerous photogra-
replaced by greed and enmity, not just within the chalk lines phy awards from the Getty Images Editorial
of a baseball pitch but in how we relate to each other in our Grants to the Visa d’or and the Carmignac
politics and in our beliefs. Gestion Photojournalism Award.
When I look at Allard’s photograph, I want to turn away
from the literal and metaphorical arenas and search, instead,
for that integrity, decency and sympathy that we are sorely
lacking in an increasingly divided world. I want to find the
passion that grows on the dusty diamonds of neighbourhood
ballparks, as the thuds of bats hitting curve balls and fast balls
surrounds me. I want to stand on a grassy field under a blue
Texas sky where dreams can still come true.
73
C U LTU R E PH OTOJ O U RN A L IS M
The Tenderness of Men
Photograph by Erika Larsen
Chosen by Sarah Leen
The caption that photographer Erika Larsen sent with this
photo from her National Geographic story about the Sami peo-
ple of Northern Scandinavia read: “Sweden: February 2011,
Sven Skaltjie found a pair of female reindeer whose antlers
became locked together during a fight. They then starved to
death. Sven sawed the bodies apart to identify whom they
belonged to. One was his and one belonged to his cousin.”
Immersed in the white horizonless landscape of North Swe-
den, Sven stands with his head down and shoulders slumped
as he contemplates the loss of two animals. He had raised and
cared for his reindeer since it was a calf, nurturing it to sup-
port his family, and although some day he would have most
74
L' U O M O
likely slaughtered it for food and fur, his expression betrays his
sorrow for this waste of life. The intensity in his eyes evokes
the fragility of life in this harsh land, the fact that there are
fights that no one can win, and how caring for something
does not always make it safe.
I love the tenderness of men that I see when they hold a
baby, comfort a child, care for their creatures, plant a garden,
serve a meal, harvest a tomato. As much as men are often
raised to be strong, tough, impenetrable and bold, it is when
their tenderness is displayed that I truly love them.  
This beautiful yet sad image speaks of that tenderness to
me. It holds all that emotion and wraps it in silence. 
NO. 002
Sarah Leen is director of photography for
National Geographic Partners and previ-
ously worked for nearly 20 years as a free-
lance photographer contributing to National
Geographic magazine. She has won nu-
merous awards for both photography and
editing from the Pictures of the Year com-
petition and the World Press Photo Awards.
© Er ika Larsen
C U LTU R E PH OTOJ O U RN A L IS M
Royal Shrovetide Football
Photograph by Oliver Scarff
Chosen by Lars Boering
A man has to be many things these days. Culture and so-
ciety demand more from him than just to be macho or to
tell the world what to do. He needs to be good and kind
to his partner. He must have an eye out for other people,
even though empathy isn’t always a man’s best trait. And
most of all he has to make way for the opposite sex, so that
women can at least be on the same level as him at work,
while also accepting that in many cases a woman will be his
boss. With diversity becoming more and more important,
and with clear action being taken to balance the roles that
men and women must both play in life, men very often end
up confused. Hurray for that, since without this moment
of soul-searching we would end up with nothing being
changed again. Let’s make this effort.
Having said that, I can also enjoy a picture like the one
taken by Oliver Scarff. It shows men competing, battling for
© Oliver Scarff , Agence France-Presse
L' U O M O NO. 002
every inch, pushing themselves to the limits and striving to Lars Boering is managing director of the
beat their rivals. The image looks like it’s portraying a big World Press Photo Foundation. In 2008
fight. But if we take a minute to read about the story we Boering founded Lux Photo Gallery. In
discover that this is a game dating back to the 17th century, 2010 Boering co-founded the Photography
and that respecting its rules and each other is very much Masterclass Amsterdam for Advanced Sto-
part of this rowdy contest. rytelling and acted as managing director of
It got me thinking that respecting rules and respecting the Dutch Photographers Association from
women shouldn’t be that difficult either, and that if we can 2010 to 2014. He lives in Amsterdam.
apply this principle one day in the future, we’ll be able to look
back and see how diversity and gender equality have become
a reality in our lifetime. Wouldn’t that be great? If thinking
this way gives men an uncomfortable feeling of having to
let go of many preconceptions, always keep in mind that we
will still be able to play a manly game of Royal Shrovetide
Football. There are some things that never seem to change,
and this could be a comforting thought for you.
75
National Sawdust Fetty Wap for GCDS WEAR
80 North 6th Street, Brooklyn, N.Y 11249, USA Shot by Hunter & Gatti

FALL WINTER
© 2018 GCDS WEAR MILANO 1994 ALL RIGHTS RESERVED
SIX BIG
Does elegance matter any more – and will it ever again? Has streetwear killed
tailoring forever? Is ‘Made in Italy’ still a meaning ful mark of quality and
culture around the world? Has exploring gender ambiguity via clothing lost its

QUESTIONS power to shock? Does inclusivity in menswear truly empower? And how does
menswear help us process the shifting sands of masculinity in 2018? These
are all Big Questions. Luckily we have some of fashion’s best critics on hand
to answer them.
Drawings by Tom Bachtell

WILL ELEGANCE
MAKE A COMEBACK?
By Tim Blanks
For all its lip service to novelty, fashion
moves in predictable cycles. If you want to
know what’s next, look at what came last.
Or so, at least, it has always been for
womenswear, with minimalism and max-
imalism playing tag down the decades.
Men’s fashion has been less subject to such
vagaries, more tectonic in its movement,
though we are now reliably informed that
menswear is where the industry is experi-
encing a revivifying growth spurt, largely
due to the indelible impact of streetwear.
The elevation of the everyday – making
the ordinary extraordinary – has trans-
formed the way men dress. But as in na-
ture or politics, so in fashion. For every
action, there’s a reaction. That was the
subtext of the S/S 19 collections shown in
June, with three benchmark shows offer-
ing a different blueprint, one whose atten-
tion to elegant, elaborate detail felt almost
subversive. And it was made even more so
by the fact that one of those shows was the
debut at Louis Vuitton of Virgil Abloh, the
crown prince of streetwear. What are you
going to do after you’ve made tracksuits
and trainers le dernier cri in men’s style?
You turn to tailoring, the most classic
definition of the male form, the equiva-
lent, at its most elevated, of haute couture
for women. Kim Jones took a haute di-
rection with his first collection for Dior
Men, using fabrics and techniques that the
Dior ateliers would more usually apply to
womenswear. Here, it was the almost fem-
inine delicacy that was subversive. That
kind of paradox has been second nature
to John Galliano throughout his career, so
launching a collection of ‘male couture’
for Maison Margiela was a natural evo-
lution. His exaltation of the effects that
can be achieved through pure cut was a
perfect hybrid of the tailor’s craft and the
couturier’s art.
In one way or another, the spirit of
the hybrid has upended menswear, with
ath-leisure at one end of the spectrum
and Alessandro Michele’s hyperreal fusions
of past and future at the other. If Guc-
ci’s rococo renaissance under Michele’s
boundless imagination has proved any-
thing, it’s that there was a hearty appetite
for extravagant, idiosyncratic fantasy that
the fashion industry had perhaps been too
tuned out – or too timid – to address. In
that light, it’s really no mystery why Abloh
and Jones, in particular, should register
so strongly with their latest collections.
They are the figureheads of the streetwear
revolution, the motivators of an ardent
young fashion constituency who will fol-
low them wherever.
In his own way, Galliano, too, wields
influence over a no less dedicated fan
base. So it’s significant that this trio of
tastemakers is turning their attention away
from the street and towards a more so-
phisticated, even arcane vision. In fashion
terms, the shift in sensibility is as inevita-
ble as night following day. In social terms,
however, it has an intriguing timeliness.
Imagine this new era of elegance as an
escape, an antidote to a world turning
uglier by the day.
Editor-at-Large, The Business of Fashion

77
CULTURE OPINIONS
WHAT MAKES A MAN
IN FASHION TODAY?
By Anja Cronberg
What makes a man?
This question was the starting point
for a recent issue of Vestoj, the journal
I edit and publish. I called it ‘On Mas-
culinities’, since today it seems more
apt to use the plural, to underscore the
many ways in which one can be a man,
or become one. What we’ve thought of
as ‘masculine’ has changed considerably
during different historical periods and
inside different cultures, and the social
position of masculinity has helped shape
not just the gender order by which we
78
L' U O M O
continue to define ourselves, but also a
hierarchy of masculinities that encour-
ages certain ways of being a man over
others.
With this in mind, a term like ‘di-
versity’ is fraught. How to be the ‘right’
kind of man is a battleground for many,
and some might say that when it comes
to manhood, man is warden and prisoner
alike. Hegemonic masculinity stipulates
how to act, dress and talk ‘like a man,’
and men who don’t want to risk being
shunned have to position themselves in
relation to it. Redefining this masculine
ideal, and the power, legitimacy and priv-
ilege that goes along with it, takes time
and concerted effort.
Lately there have been cries about
masculinity ‘in crisis’ and the emergence
of a ‘new man’ – an idea that the fash-
ion industry in particular has been quick
to capitalise on. What should this new
man wear? In a shifting landscape where
masculinity is being supplanted by mas-
culinities, surely another, more diverse,
wardrobe is being called for? But while
NO. 002
men try on pussy-bow blouses sceptics
point out that the catalyst for this pleth-
ora of new looks might be more closely
related to the ever-increasing commod-
ification of everyday life than it is to
any kind of new man. After all, fashion
in capitalist culture is primarily about
promoting an unattainable ideal – as it
turns out, fanning feelings of inadequacy
is still the most effective way to get us
to spend more.
Founder and Editor-in-Chief, Vestoj
CULTURE OPINIONS
IS AMBIGUITY STILL A
SHOCKING ATTRIBUTE?
The solid image of the man as a self-pos-
sessed individual completely devoid of
any frivolous trait has long been shattered.
The demolition started a long while ago,
actually: on the cusp of the hedonistic
Seventies that led to the conspicuous
consumption of the Eighties, when the
newfound, quickly gained and widely
spread wealth meant quite a hell of a lot
of showing off, be it of a new body or
a new way to confront the world using
le look as one’s visiting card.
In that very moment men got rid of
all the rigidities of their fathers and an-
cestors, and accepted a liberating amount
of vanity in order to be au courant. It
went further and further, until the full-
L' U O M O
blown ego-tripping, self-referential fri-
volity of the metrosexual – a man so in
love with himself as to embrace not only
extensive training and beauty treatments,
but also liberal amounts of cosmetics on
a daily basis, plus body-hugging, mus-
cle-revealing clothing and an unbiased,
freed attitude – completely reset the
codes. Today machos sport plucked eye-
brows and waxed chests with immense
masculine pride, not an ounce of vani-
ty shame in sight. Yet, the sight of men
openly and giddily acting fey and femi-
nine – or what is commonly considered
so, given that such traits vary from one
culture to another and from one histor-
ical moment to another – either as gay
By Angelo Flaccavento
or heterosexuals, still creates a certain
discomfort in onlookers. No matter how
far we have gone, there are still things
that look suspiciously drag-like to the
pineal eye of our digitally-conformist,
archly judgmental society.
Ambiguity has lost none of its powers
to this day, as pictures of David Bowie
or the New York Dolls in their heyday
prove, or shots from the Gucci and Mai-
son Margiela shows testify. A man in a
dress or kinky gear, wearing make-up,
enjoying abandon is discombobulating,
and all the better for it. What’s called
genderless fashion is reassuring because
it has flattened gender divides on the
sporty horizon of lazy, ugly-is-beautiful
NO. 002
streetwear. Ambiguity, on the contrary,
is a selfish ’n’ complacent dress-up game
for truly frivolous individuals who are
not afraid to beg, steal and borrow lace
or feathers from gals’ closets, or vice
versa. Ambiguity is powerful because it
endlessly demonstrates gender connota-
tions are not matter-of-factly attached
to items of clothing, but are a purely
cultural construct. Such a taboo is still
hard to break, but that’s not too bad, all
things considered.
Playing with danger keeps giving an
electric soupçon to the daily act of dress-
ing up.
Editor-at-Large, Vogue Italia
79
CULTURE OPINIONS
HAS STREETWEAR
KILLED TAILORING?
By Frédéric Martin-Bernard
For a few seasons, luxury designers and
brands have been focusing on sportswear,
even streetwear, which used to be charac-
terised by misshapen clothing and mass-pro-
duced accessories. These same houses took
their lead from the social networks and
squandered the images of their latest col-
lections in an instant.
That adds up to a bad time for tailoring
and, by extension, to the philosophy of me-
80
L' U O M O
ticulous know-how that goes into its pro-
duction. Fortunately, the millennials – those
under-40 consumers who are currently ob-
sessing the big brands – are not the only
people on earth who wear clothes. There
are also their elders, starting with the equally
numerous baby boomers. Members of this
cohort do not necessarily want to wear the
same outfit (and shoes) in town as at the sta-
dium. In addition, they have greater means to
afford clothes that are perfectly cut to their
size.
With tastes passing as fashions, we may
also imagine that digital natives will eventu-
ally tire of labels that are just a click away. In-
accessibility and rarity are eternal wellsprings
of desire. Conversely, a man who dreams of
driving a Ferrari or a Porsche when he is
20 will not be dreaming of driving the same
type of car at 40. Thus, the current lack of
NO. 002
tailoring spirit on the catwalks may be bene-
ficial in the medium term. Provided, howev-
er, that the image is dusted off and no longer
dwells on centuries-old traditions but instead
emphasises quality, proximity and durability.
These are eco-responsible criteria (hitherto
unexploited) that count for more and more
in the eyes of all.
Head of Fashion, Le Figaro
CULTURE OPINIONS L' U O M O
IS ITALIAN LIFESTYLE
STILL A VALUE?
My answer is definitely “Yes.” In Tokyo many of the European countries, as well
and probably in other major cities in Ja- as America, and Asia.
pan, too, the most popular western-style I might add here, too, that the sense
restaurant category is still Italian, the best and sensibility of the Italian aesthetics
loved wine is still Italian, the best loved which gives ‘Made in Italy’ a uniquely
tailoring style is still Italian, and the most privileged position must have been de-
popular travel destination overseas is still rived from the Mediterranean hedonism
Italy. It’s been like for more than two of Italians as opposed to the asceticism
decades ago, as I remember. And I also of the central-and northern-Europeans.
suspect that this may be true also for Not to mention the Buddhism-inspired
By Masafumi Suzuki
philosophy of resignation of the Japanese.
And as for menswear? Well, almost all
serious fashion brands, not only those in
Italy but also those in the rest of Eu-
rope and America, rely upon Italy for the
production of their high-end clothing as
well as many kinds of men’s accessories
including bags, shoes, and small leather
goods. The sense and sensibility of Italian
aesthetics reflected in manufacturing and
NO. 002
savoir faire is one of the most valuable
assets for the menswear industry of the
world. So please, continue to inspire us
with your belief that life can be happy
with Italian fashion. Because by doing this
we discover what fashion can do to make
us realize that life can also be happy –
even for us pessimistic non-Italians.
Editor-in-Chief, GQ JAPAN
81
CULTURE OPINIONS
IS MENSWEAR’S
NEW INCLUSIVENESS
ALSO EMPOWERING?
By Guy Trebay
“It’s like an immigrant casting,’’ the de-
signer said, with a self-conscious laugh,
during a backstage interview before a
menswear show in Milan in June. The
designer was white, it almost goes with-
out saying. His tent-pole show for one
of fashion’s most important labels was
emphatically not.
For decades, people of colour were
a lamentably rare sight on fashion run-
ways. True, on occasion, casting directors
might add a black model to the mix, in
some cases literally for a flash of seasonal
colour. (“They look best in bright sum-
mer clothes,’’ an American designer once
told me.) Yet for the most part, fashion
– insular, hermetic and smug – closed its
82
L' U O M O
doors to humanity’s great chromatic dis-
persion. Lately the diversity that was so
long in coming to fashion has made ob-
servable inroads. Fashion shows, if not the
industry’s boardrooms or design offices,
are increasingly plural. Yet, as the Italian
designer’s offhand “immigrant” remark
made clear, there is a stubborn resistance
to rooting out ingrained habits.
I thought about this again recently when
a question was put to me about this over-
due shift in men’s fashion: is the new in-
clusiveness “empowering”?
Superficially, of course, the answer is
yes since talents who for decades found
employment elusive are now in hot de-
mand. Just how transformative this is be-
came clear to me last summer in Jamaica,
on a visit to Kingston’s rough Waterhouse
neighbourhood. There, in a tin-roofed
cinder-block house, I met a successful
young male model raised by an aunt af-
ter his mother was killed in a gangland
shooting.
Scouted on the street by a local agent
impressed by his chiselled cheekbones
and air of brooding self-containment, the
model had been flown to Europe, where
he was quickly cast for exclusives by a
number of European labels. With the
previously unimaginable sums he now
pulled in, he had bought his step-mother
a place to live and paid for his siblings’
educations.
NO. 002
Running into that young guy again
during the menswear shows in Paris, I felt
a combination of awe at the psychic and
economic distances he had travelled from
his home and regret for those denied his
opportunities. I also experienced a certain
degree of ruefulness since racial diversity is
hardly the whole story. Fashion has been
surprisingly slow to discover that it is dif-
ference that makes the world wondrous,
not sameness – and how everybody loses
each time we thoughtlessly filter out those
who don’t conform to our narrow con-
ceptions of what constitutes beauty.
Reporter/critic, Culture and Style
The New York Times
PAOLO
ROVERSI
CLOSE ENCOUNTERS
By Chiara Bardelli Nonino

“Certain people have something that resonates in me, instinctively. It’s the feeling
that the exchange from which the photographs are born is possible. Usually I’m
attracted by people who are wrapped in a veil of mystery – that strange, impalpable
quality that takes you to a borderline area between light and shadow, a place where
you feel slightly lost, or alien. It’s a feeling I really enjoy. It happens in an instant:
you see one of those faces and you think, ‘I want to photograph you’. It’s a complex
impulse, but at the same time simple and immediate. And often from these encounters
a truth is revealed, not only to me or the person I photograph, but to those who then
look at the picture – the viewer. It’s a magical process that still excites me today.”

Unlike many artists, who are generally
interested above all in themselves, Paolo
Roversi has an amazing and very per-
sonal collection of other people’s works
hanging in his house. But among the var-
ious Egglestons, Avedons, Penns, Franks,
Sugimotos and Brandts, the photos he
most likes to show are of his family.
“See?”, he says, pointing to one child af-
ter another, “They all look just like me.”
It is therefore no surprise that, among the
“remarkable men” that Roversi brought
together for this special project, there are
included two of his sons, Francesco and
Matteo.
Is this the first time you’ve photographed
them for a magazine?
Yes. I’ve shot my daughter Stella often,
but this is the first time for Francesco
and Matteo. They’re totally different, but
somehow identical to me. It’s striking,
no, isn’t it? Francesco is a videographer,
he’s expansive, very Italian. He could be
a young Mastroianni in a Fellini film.
Matteo is more reserved, a dreamer. As
a child he always said he wanted to be
a scientist, but now he’s immersed in
music. He wants to become a composer
and conductor. This summer he went to
Ravenna to study with Riccardo Muti.
Where did you get the idea to photograph
this particular group of people?
It was a sort of adventure. I was drawn
to the idea of a story of encounters. In-
stead of hanging a bunch of recognizable
f igures, I thought that a more intimate
approach might be interesting, some-
thing that brought together people who
are important to me and people I’d met
for the f irst time who for one reason or
other struck me. It’s like life: there are
people you’ve known for 30 years and
others you met the day before, and you
never know who might be more import-
ant to you.
You mean it’s like the life of a photog-
rapher.
Well yeah. My work, in a certain sense,
is an art of encounters. The encounter is
perhaps the decisive moment. Every time
I photograph someone it’s a sort of recip-
rocal confession. An exchange of ideas,
feeling, and visions that can sometimes
be very intense and profound.
W hich encounters have impacted your
career?
Soon after arriving in Paris, immedi-
ately in fact, I met Peter [Lindbergh].
We both moved there the same year and
we connected instantly. We were both
working for Marie Claire, which at the
time was a cutting-edge magazine – it
published Newton, Sackmann, Steve Hi-
ett, Barry Lategan. Claude Brouet. The
editor-in-chief back then is perhaps the
most influential woman in 20th-century
French fashion. She’s our Diana Vreeland.
You say ‘’our’ because you feel like a
Frenchman at this point?
Oops, interesting slip! But in a certain
sense it’s really true. I think Peter and I
are - at least in spirit - the most French
photographers in Paris fashion, because
we both started there and have never left.
At a certain point everyone packed up
and went to New York, but I have to
say the thought never crossed my mind.
Maybe I have Guy Bourdin to thank for
that. I met him when I was a young nov-
ice, and one of the first things he told me
was don’t ever go to New York, it’s the
cemetery of photographers. He thought
it was too commercial, that it killed cre-
ativity and imagination.
Was there ever a rivalry between you and
Lindbergh?
Never. We grew up together, and even
if we have very different personalities,
there’s an enormous respect and affection
between us. We stimulated each other to
find a different notion of elegance and
femininity. And obviously we kid each
other. Peter has been asking me forever
why all my photos are out of focus. At
first I would respond seriously, talking
about the fog of Ravenna, or quoting a
famous photographer. Then I started giv-
ing him ever more improbable answers.
The last time we saw each other he said,
“Ok Paolo, that’s it, I absolutely have to
get you a camera with auto-focus.” And
I said, “If you really want to help me out,
you know what I need? A camera that
automatically takes out-of-focus photos.”
And how did the bromance between you,
Lindbergh and Anton Corbijn come
about? I follow all three of you on Insta-
gram and I periodically see selfies of you
all together, happy as clams.
What does ‘bromance’ mean?
A close fraternal friendship, a brother-
hood.
Yes, that’s exactly what it is, a brother-
hood. We met Anton at a show Peter was
doing in Düsseldorf a few years ago. He
introduced himself and we immediately
embraced him. Since then we’ve been
inseparable, we get together whenever
we can. He came in from Amsterdam
just to see my show at Palazzo Reale
in Milan - where something wonder-
ful happened. We were in the entrance
hall, and at a certain point this guy shows
up with all these white balloons in one
hand and a basket of flowers in the other,
and says, “Antonio?”. So I go, “Yes, he’s
Antonio,” pointing to Corbijn. The kid
hands him the balloons and flowers, then
leaves. It turns out that Palazzo Reale
is also a wedding venue, and there was
another Antonio getting married that
day. We had a wonderful time in Mi-
lan, we laughed and cried together. And
when you laugh and cry with someone,
it’s forever.

84
Jean-Hugues de Chatillon, Paolo Roversi and Julien d’Ys at Studio Luce, where the photographer shot the special project “Remarkable men I met” for this issue of l’Uomo (see page 122). 85
C U LT U R E PAO LO ROV ERS I
Sami Younis
W hat’s it like photographing another
photographer?
I had a lot of fun, but it’s difficult, and a
bit strange. I think it must be like a doc-
tor taking care of another doctor. You’re
aware that he does things differently than
you, that he knows what you’re doing.
You feel a critical, or at least technical
gaze on you the whole time. The real
problem is creating that sort of dialogue
that you almost always find with a strang-
er, or with someone who doesn’t practice
your trade. It’s like we’re each holding
up a mirror to each other. In any case,
photographers are the most difficult sub-
jects to photograph, with actors running
a close second.
Why?
For actors, being photographed is very
different from acting. Actors are accus-
tomed to working from a script, they
know they have to make a certain ges-
ture to act out a scene. When they’re
alone in front of the lens and have to be
themselves, there are two possibilities:
either they don’t know what to do, or
they desperately try to convey a certain
image. Which is to say, the opposite of
what I’m looking for. I’ve had some very
difficult shoots with some actors. In this
case though I was very lucky, with Pierre
Niney, Will Peltz and Melvil Poupaud.
Pierre is a really good actor, very mag-
86
L' U O M O
netic. Melvil is the quintessence of the
French cinema tradition. Will Peltz real-
ly impressed me. He imbues everything
he does with a powerful sex appeal. He
and Noé Martin are definitely the most
sensual of the subjects I shot for this proj-
ect. But in very different ways: Will is
instinctive, visceral, while Noé is sweet,
romantic.
What is sex appeal?
Something you either have or don’t. It’s
a mysterious, epidermal substance, like
being photogenic. I’ve never been able
to analyze it. Sometimes I see a young
woman and think she’d be fantastic to
photograph, then in front of the camera...
nothing. She suddenly becomes trans-
parent, no gaze, no presence. ‘’Nobody
home’, as Avedon used to say when it
happened to him. The guys we just talk-
ed about don’t have this problem. Nor
does Gabriel-Kane Day-Lewis, the son
of Daniel Day Lewis and Isabelle Adjani,
two very intense actors. Gabriel is a sen-
sitive kid, but really strong. When you’re
raised by artists you have to be. It’s com-
plicated. It’s not easy to assert yourself,
create your own space and identity. You
always risk remaining in their shadow.
What struck you most about the people
you didn’t know, like Jeenu, Sami, Fer-
nando and Tae Min?
I chose them because I liked their faces.
Matteo Roversi
Each of them has a feature, a detail that
caught my attention. Jeenu, for exam-
ple, has this aristocratic air from another
time, he looks like he just stepped out of
a Satyajit Ray film.
You can tell a lot from a face?
Ever ything. I think so, anyway. Julia
Margaret Cameron, who has always been
a great master for me, said that photog-
raphy isn’t just the map of a face or a
surface, but something that penetrates
beyond the surface to arrive at a much
deeper level.
Does this exchange you talk about be-
tween photographer and subject also hap-
pen with lifelong friends and colleagues,
like Jean-Hugues de Chatillon and Julien
d’Ys?
Oh, they’re family. I’ve known Jean-Hu-
gues forever, I photograph him practi-
cally every day. Once I was looking for
a set designer, and he showed up. Since
then he’s assumed more roles and more
responsibility in my studio, to the point
where if he’s not around, I really miss
him. He’s also an exceptional dancer
and choreographer, so when I’m trying
the lights before a shoot, Jean-Hugues
is always ready to strike a pose for me.
If an assistant tries to get in on it, watch
out! He chases them off and takes over.
One of my assistants described him as
a motivateur de troupe, which is exactly
NO. 002
right. I’ve known Julien since he was 17,
I did my first fashion photos with him.
He chose the jacket with ‘King’ written
on it himself, which is appropriate: he’s
a true artist, extraordinarily creative in
everything he does – painter, designer,
and a totally unique hairstylist. Did you
know he was the first one to cut Lin-
da Evangelista’s hair short? All the girls
adore him, because he knows how to find
a look for everyone, a way of expressing
themselves. A bit like Visconti with Cal-
las, know what I mean? We work togeth-
er often, mostly for Comme des Garçons.
Speaking of Comme des Garçons, what
kind of relationship do you have with
Adrian Joffe?
What can I say about Adrian? He has
his own light, he illuminates the people
he talks with and works with. He has
the gift of transmitting the right energy
at the right time and place. We worked
together recently on the Rei Kawakubo
exhibition for the Met. I went to Tokyo
to photograph the archive. Then, some
time later, we were drinking whisky at
the Hôtel de Crillon. At a certain point,
Adrian pulls out the Met catalogue,
which practically no one had seen yet,
and my eyes welled up with tears. He and
Rei are rare people in the fashion world.
I remember she once told me, “For me,
the most important thing is freedom.”
C U LT U R E PAO LO ROV ERS I
Guerassim Dichliev
What can I add to that? She said it all.
Rei, Adrian, Julien, Peter, they’re all
free. And that’s probably what connects
all the friends I photographed for L’Uomo
Vogue.
You also photographed Peter Lindbergh’s
son, Jeremy Brodbeck.
I’ve known him since he was a baby.
We’re very close.
Is Brodbeck a stage name?
No, Lindbergh is a stage name. It comes
from Charles Lindbergh, the aviator who
made the first solo flight across the At-
lantic.
Have you ever thought about changing
your name?
Never. But names are important. Did you
know that when Robert Capa – born En-
dre Friedmann – first came to Paris, no
agency would hire him? So one day he
goes to the flea market, buys a Humphrey
Bogart trench coat and a Borsalino hat,
then goes back to the agencies saying
“Hi, my name is Bob Capa, do you have
any work for me?”. And that’s how he
got started. Nice, no?
Definitely. In closing, I’d like to ask you
for a few words on the other subjects of
this story. Let’s start with Kevin Rouff.
Kevin used to be my assistant, now he’s
an artist. He always amazes me. He’s ad-
venturous and shy at the same time, even
wise. I don’t know how he puts it all
L' U O M O
together. He grew up in Santa Fe, and in
the photo he’s wearing a hat of mine that
I bought in his mother’s shop.
Mathias Augustyniak and Michael
Amzalag, the founders of the M/M agen-
cy in Paris?
A work relationship that has grown into
a lovely friendship. They always manage
to stimulate me, push me towards unex-
plored territories, to turn my point of
view on its head and create something
new – what every good creative direc-
tor should do, basically. We just finished
working on a campaign for Acne, where
they asked to use my old worn-out Pola-
roids and to shoot with a pinhole camera.
I used to love these kinds of extremes,
and I must say that this campaign rekin-
dled the flame.
What about Camille Blatrix?
A great sculptor. There’s a whole world
of creativity and imagination in his eyes.
Darius Khondji?
He’s a really good cinematographer who
has worked with the best directors in the
world. When he was starting out, he’d
come to the studio every evening to pick
up his girlfriend, who worked as my as-
sistant for a while. We connected right
away, talking about lighting, film, music.
Now it is I who learns from him. For
this portrait, I said, “Darius, you do the
lighting,” but he immediately replied,
Ismail Belgaid
“Paolo, you’ve got northern light coming
in through this window, what more do
you want?”
Guerassim Dichliev?
I always say that my studio is like a lit-
tle theatre, an empty space to be f illed
with imagination and wonder. As soon
as Guerassim entered it, he felt on a
stage: a sequence of gestures and ex-
pressions, disappearing in an instant.
I immediately knew that I had to do a
multiple exposure.
And Raad Al Gabril?
Ah, Raad! Raad goes to the same univer-
sity where Vivienne Westwood studied
and loves Shakespeare, Bob Dylan and
John Keats: he’s a ‘Romantic Punk’‘. He
thinks the photo really captures him.
The power of Roversi, eh? [laughs]
Do you always ask a lot of questions to
the models you work with?
Of course, it’s my job. Photography is a
psychoanalytic profession, you have to
know how to get inside people, pull out
the most from them. And you also have
to be curious. All photographers are. In
a sense, we’re all paparazzi.
Raphael, for example, what did he tell
you?
That he played the violin for 7 years,
but at age 15 he suddenly quit because
he felt embarrassed playing in front of
others. He started because he liked the
NO. 002
violinist André Rieu. I told him that I
wasn’t familiar with him, how do you
spell his surname. And then Raphael said
something I really enjoyed – when he
got to the ‘e’, he said “e it’s like étoile”.
C’est jolie, no?
And what did you learn about Ismail?
That he’s a judo champion and has a
house full of trophies and medals. The
most difficult thing that happened to
him in his career as a judoka was when
he was entering an important final and
found he was fighting his best friend. He
told me it was terrible, also because at a
certain point his friend turned his back
for an instant, so Ismail pinned him to
the mat. Amis à la vie, à la mort – but not
on the tatami.
The title you chose is taken from the book
Meetings with Remarkable Men, by
Gurdjieff, no?
I have to say that as soon as this project
started taking shape in my mind, the ti-
tle came to me immediately. Before all
the rest. They’re all remarkable for one
reason or another. And then, when I fin-
ished shooting, I realized that everyone
is. I really believe this. Certain mornings
I’ll meet a man sweeping the streets of
Paris and we’ll exchange a smile. And
that smile gives meaning to my day. That
stranger who smiled at me is just as I say,
a remarkable man.
87
 REMARKABLE
PEOPLE
AND PLACES

N O V
2 0 1 8
N.002
€8,00

CULTURE LGBTQ Parenthood FASHION Remarkable Men by Paolo Roversi OBJECTS 180 Winter Wants for the City
Shawn Stussy Returns Queer Families by Ethan James Green and Mountain
Five Fresh Designers Csikós of Hungary by Tom Johnson
Fashion Controversy Richard Gere by Brigitte Lacombe COVER Dennis Williams in Balenciaga
Very Personal Places A Picture Of The Côte D’Azur Photograph by Ethan James Green
by Benjamin Alexander Huseby Styling by Matt Holmes

Dennis Williams and his son Elan, shot by Ethan James Green for one of the covers of this edition of L’Uomo Vogue.

88
 LGBTQ
PARENT–
HOOD
For this issue of L’Uomo Vogue, inspired by his own wish to become
a father one day, Ethan James Green has shot a joyful and candid
portfolio of LGBTQ parents and their children (page 152). Here we
speak to some of Green’s subjects about their experience of parenthood,
and examine the prejudices they – and their families – still face.
By David Kaufman
You might say that this is the best of times and –
perhaps – the worst of times for LGBTQ families
in America. On one hand, this still relatively tiny
community has never felt more vitally represent-
ed in culture, schools, churches and playgrounds.
LGBTQ families are vocal presences in books, on
television and, most prominently, across social me-
dia. From Elton John and David Furnish to director
Lee Daniels, pop icon Ricky Martin and two-time
Academy Award-winner Jodie Foster, LGBTQ
families are f inally edging close to the mainstream.
There are roughly 115,000 same-sex households
raising children throughout the United States – of
the children in these families around 80 per cent
are biological offspring and 20 per cent adopted,
according to the Wil liams Institute on Sexual
Orientation and Gender Identity Law and Public
Policy at the UCLA School of Law.
Conventional wisdom might suggest that most
LGBTQ families prefer the relative openness of
progressive coastal regions like California or New
York. But even traditionally conser vative states
such as Mississippi, Wyoming and Alaska report
signif icant communities of same-sex parents.
“Of course geography matters because acceptance is
not always the same across the board,” says Dennis
Williams, a gay father of a four year-old son living
in Brooklyn. “It’s unfortunate, but things can still
be easier when you’re in a big city.” Nonetheless,
queer families are ver y much ever ywhere – and
they’re clearly here to stay.
LGBTQ families come in every color and size
and conf iguration – illustrating the ver y best of
The United States of America’s sacred traditions
of freedom, tolerance and a respect for individual
rights. Williams, for instance, is an African-Amer-
ican television executive who had his son, Elan, via
surrogacy and is raising him on his own. “Creating
a family has absolutely been the most important and
rewarding thing I’ve ever done,” Williams says.
“This was a ver y serious and rigorous course of
action,” he continues, “you could say Elan was the
ultimate example of ‘family planning’.”
Then there’s Cooper Boone, a countr y mu-
sic star and television personality living deep in
rural upstate New York with his husband Mark
Veeder and their four year-old twin daughters,
Cici and Crosby. While their fathers make music,
write cookbooks and run their luxury B+B estate,
the girls enjoy farm-grown organic food, pristine
mountain air and vast open spaces. “Sure, we’re
a bit of a different kind of family from the norm
around here,” Boone says. “We have experienced
homophobia, but we’re very comfortable with be-
ing gay dads; we have very thick skins.”
Max Masure, meanwhile, is a French-born gen-
der-nonconforming creative director and trans-
rights advocate also living in New York whose
four year-old daughter, Josephine, is a product of
an earlier marriage with a man. Formerly a cisgen-
der woman, Masure – who prefers the pronouns
“they”/”them” – says they’ve “had the chance to
experience life as both a woman and mom – as
well as a dad.” Their verdict: “As a woman people
always told me how to hold my daughter’s hand or
how to do this or do that,” they explain. “But as a
man, nobody ever tells me what to do.”
Masure, Boone and Williams are among a hand-
ful of LGBTQ families shot by NYC-based fashion
photographer Ethan James Green for the portfolio
on these pages. Green – who typically photographs
campaigns for fashion houses like Prada, Kenzo
and Alexander McQueen – came to this project
for intensely personal reasons. “I decided to shoot
LGBTQ families [because] having my own family
one day has been something I’ve realized I truly
want,” Green explains. “There aren’t many im-
ages that exist of these families so I wanted to
shoot something LGBTQ people could aspire to
and that would allow the idea to be normalized
further.” Green’s motives could not be more timely.
For even today – nearly 30 years after the Stone-
wall Riots ushered in the modern LGBTQ rights
movement and three years since marriage equality
was approved by the U.S. Supreme Court – hostile
political forces are threatening to erode many of
the hard-won battles achieved over the past few
decades. Indeed, whether through adoption or sur-
rogacy, marriage or pure circumstance, LGBTQ
families stand at the intersection between a pro-
gressive American public and a political culture
increasingly steeped in regressive and reactionary
rhetoric. In Michigan, for instance, a pediatrician
refused to treat an infant with lesbian parents,
while in Los Angeles, a gay couple is suing the
U.S. State Department for denying one of their
sons an American passport. For the moment, these
remain relatively isolated instances. But the recent
ruling by the U.S. Supreme Court recognising the
rights of companies to refuse service to LGBTQs
because of their owners’ ‘religious beliefs’ opens to
the door to a potential f loodgate of further bigotry
and discrimination.
Still, the slow (but steady) increase in LGBTQ
families seems all but unstoppable – even as the
Trump White House proves ever-more unsympa-
thetic to minorities of all types. “A decade ago it
was men in their 40’s and 50’s coming for surroga-
cy, now folks are starting even in their 20’s,” ob-
serves Ron Poole-Dayan, Executive Director and
Founder of Men Having Babies, a non-prof it that
assists gay men in having biological children. Even
in the face of rising conservatism, Poole-Dayan
says surrogacy is f inally losing its stigma for gay
men. “Perhaps in Europe there is still resistance,
but in the U.S. we don’t really see that any more.
If anything adoption remains far harder for gay
people.”
Despite the many real challenges still facing
LGBTQ families, this remains a community that
refuses to retreat or hide. In fact, many gay parents
actually feel emboldened by the specter of living
– and loving – openly amid this era of political
uncertainty. After all, these are parents who already
risked losing their original families during what
for many were painful ‘coming-out’ experiences
in early adulthood. Surviving these initial battles
– along with society’s larger, still-lingering ho-
mophobia – has prepared them to defend the new
families they worked so hard to create.
Derek Fleming – who with husband Sonny Pur-
year is father to six year-old twin boys Dex and
Zane – says his own father had a hard time with his
decision to begin the surrogacy process in India.
“But we never let this deter or limit us. Now he
is so proud to be our sons’ grandfather,” Fleming
says. “We understand today that the current polit-
ical climate is not about us,” he adds. “And we are
teaching our boys that they are special and worthy
and that our family is just as good as all of the other
families out there.”
89
FIVE DESIGNERS
As the vernacular of menswear continues to shift, L’Uomo Vogue returns to
profile five exciting agents of change. The five designers on the following pages
come from very different backgrounds and cultures: each operates within his
RESHAPING (or their) unique context and each explores his (or their) own fields of interest.
What connects these designers is the very thing that makes them so different to
MENSWEAR each other: originality. Each is striving to express something new, something
relevant, and something that truly ref lects their worlds in 2018 through the
By Luke Leitch prism of menswear.

Ludovic
de Saint Sernin
France
If you want to get along with Ludovic de
Saint Sernin, don’t call his clothes ‘uni-
sex’. “I hate that word!” says the 28-year-
old. “Why? Well, because it cancels out
the idea of sex on either side, which is
exactly the opposite of what I do.”
De Saint Sernin’s clothes might be
better described as ‘anysex’, ‘omnisex’ or
‘flexisex’. “My clothes are about celebrat-
ing potential and identity, not disguising
it. Whatever you do with them to inter-
pret yourself is your choice.”
Before founding his line 18 months
ago, he spent several years working un-
der Olivier Rousteing at Balmain as a
designer of embellishments and textiles,
“which meant I was working in the ate-
lier on the hand-made couture pieces –
an extraordinary job.” Despite this, de
Saint Sernin felt an urge to strike out
on his own. And that urge became an
imperative when he saw Joe McKenna’s
documentary on Azzedine Alaïa. “Alaïa
was saying – and proving – that it is pos-
sible to start something on your own, to
be independent, and to be successful.”
Thus, with the blessing of Roust-
eing, he left Balmain and set about
building a business funded only by his
savings plus a small family contribution.
De Saint Sernin had always worked on
womenswear, but that shifted when he
dressed some of his earliest pieces on a
male model named Raphael. “When I
put them on this guy, I thought, ‘You
know that looks really cool.’ From then
on I didn’t question whether it would
be menswear or womenswear.” At his
first presentation in Paris in June 2017,
de Saint Sernin showed a Mapplethor-
pe-inspired collection designed to enable
a multiplicity of sexualities – a moment
he says acted as a coming out not just
for his design identity but also for his
personal one. For A/W 18-19, his collec-
tion questioned the surreal and explored
the sensual potential of his aesthetic in a
freshly playful way.
De Saint Sernin’s urge to launch his
own line was vindicated when he won
the 2018 ANDAM Prize. “It’s a big relief
that people in the industry think this is
going somewhere, and I’m really grateful.
Now I want to continue to tell this story,
to grow, and stay true to myself.”

Photo Brett Lloyd. Courtesy Press Office. 91

CULTURE DESIGNERS L' U O M O NO. 002

Ader Error
South Korea
Who are Ader Error? The precise identities
of the personnel behind this trailblazing
South Korean clothing collective remains
unclear. What is perfectly apparent, how-
ever, is that over the last four years Ader
Error has caught the imagination of young
Korean consumers in a way no interna-
tional brand can match.
Started by a 4-person g roup of
like-minded creative subversives in 2014,
the label has since grown into a collective
of at least 20. Its raison d’être is to pres-
ent evidently wearable clothes – which
while presented mostly on female models
are purchased just as enthusiastically by
men – whose obviousness is destabilised
by sophisticated kinks both of fabrication
and decoration.
The editor who knows most about
Ader Error is Monica Kim, US Vogue’s
fashion news editor, who reveals that their
team includes designers trained at Central
Saint Martins in London, the Fashion In-
stitute of Technology in New York, and
ESMOD. The word ‘Ader’, she adds, is an
in-English phonetic spelling of the Korean
for ‘other’. She says: “Think classic Amer-
ican clothes with a Korean twist. Much
of that twist (and perhaps their greatest
strength) is the digital satire and cynicism
they layer into their clothes, which speaks
to the millennial and Gen Z shopper. One
of their early successes was a white tube
sock with the phrase ‘your life is a joke’
written on it. Brilliant, really.” The Ader
Error store in Hongdae, Kim reports, en-
joys a level of footfall far exceeding its
longer-established luxury neighbours.
The group’s wryly unisex approach
affords its young Korean customer base a
wearable point of difference in the face of
long-entrenched, clothing-signified gen-
der norms. It’s a formula that is finding
traction internationally too. Following a
2017 buy at 10 Corso Como, this year
the group has presented collaborations
with Puma and with Maison Kitsuné, the
Franco-Japanese clothing brand and mu-
sic publisher, and is growing its own-col-
lection sales overseas. It seems poetically
apt that a collective whose identities are
hidden is thriving via clothing that allows
consumers to blur onlookers’ assumptions
about their identities, too.

92 Courtesy Press Office.

CULTURE DESIGNERS L' U O M O NO. 002

Magliano
Italy
Made in Italy? Say those three words in
any conversation about fashion, and it’s al-
most a certainty that what you’re referring
to is this nation’s celebrated wellspring of
world-beating clothes, shoes and accessory
manufacturers.
And yet there’s much more to Made
in Italy than mere clothes. Italian fashion
is not solely an industrial product of its
artisans; it is also an aesthetic product of
Italy’s culture, character and stereotypes.
Luca Magliano, 31, is a conceptual, fun-
ny, pencil-moustached and razor-smart
young menswear designer who extends
the notion of Made in Italy to its utmost
to examine the very fabric of Italian mas-
culinity.
Founded in 2016 with the support
of Ter et Bantine’s Manuela Arcari – for
whom Magliano also works – his epon-
ymous label uses Made in Italy expertise
to ironically analyse Made in Italy macho
tribes and tropes. For S/S 19 his partially
poliziotteschi-inspired collection is shot as a
series of almost parodic characters – “The
Killer”, “The Bully”, “Latin Lover” – as
well as some much more specific looks
that include “Miami: The Assassination of
a White Shirt”.
Magliano explains: “There’s always a
high element of irony. It’s a dreamy view
of an Italy that still exists, and which is
also a very personal, strong idea of Italy
that I have in my heart. Here we’re in-
terpreting an Italian guy from the coun-
tryside who acts like he’s in Miami, so in
a way of course the reference is Gianni
Versace.”
Magliano won Who is on Next? in
2017 before showing his A/W 18-19 col-
lection this January in Pitti’s Italics slot.
Titled “A Man in Love”, it focused on
soft-shouldered tailoring and soft-hearted
visions of the men wearing it. “Magliano
is a brand that investigates classics, from
tailoring – which is very important – to
archetypal clothing and other masculine
uniforms. Our mission is to produce
clothing following the organic Made in
Italy process with a rough, DIY spirit in
the punk tradition. The construction of
our clothing must consider our history
but at the same time it has to be rough
and it has to be wild.”

Photo Giovanni Corabi. Courtesy Press Office. 93

CULTURE DESIGNERS L' U O M O NO. 002

Ice Surface
Temperature
Italy
“We are deeply into the meaning of
clothing, this is true,” says Kristian Guer-
ra. “Because clothing without context is
only clothing. So we work on different
aspects: the fabrics, the contexts, and the
people who inhabit them.”
Padua-bor n Guer ra, 30, won two
awards at ITS in 2011. He has since free-
lanced for labels such as C.P. Company,
Diesel and Max Mara, and now consults
as a designer for Holubar. On the side,
Guerra has teamed up with his sister
Laura – a pattern designer whose CV
includes McQ – to develop Ice Surface
Temperature, a conceptually high-flying
passion project that complements their
respective day jobs. Following more than
a year of careful development, the label
will present in London next February as
part of the International Fashion Show-
case organised by the British Council.
“My sister’s background is in shapes
and my background is in fabrics. This is
our starting point. We would like to give
our perspective of reality. We’re Italian
and we seem to be radical, and we want
to put that on the table,” says Guerra.
“We’re trying to catch memories in our
gar ments, or to create memor ies that
have different volumes. It’s an emotional
approach.”
That translates into something almost
goth-leisure – whimsically proportioned
pieces, evasively photographed, in which
Guerra is nonetheless determined to re-
tain a real-life relevance. Guerra says that
IST is an exploration of the anthropolog-
ical aspects of menswear that plays with
contaminations from Italian-flavoured
counter-cultural tics rooted in the ’80s
and ’90s. As well as refiguring canonical
outerwear and sportswear shapes, he and
Laura tilt the medium off-kilter via the
imposition of reflective embroider ies
and mesh overlays. He adds: “We start
from real life and make a distortion, so
the look is an interpretation of reality.
For example, we set off with the idea
of the down jacket and then reproduce
it with different volumes and surfaces.
And we try to use functional aspects to
make something that isn’t just useful, but
which also has a sense of shape. We really
work on the icons of the wardrobe.”

94 Photo Carlo Battiston. Model Lorenzo Belli. Courtesy Press Office.

CULTURE DESIGNERS L' U O M O NO. 002

Charles Jeffrey
Loverboy
United Kingdom
Like every great liberal-minded capital
city – and arguably more than any other –
London has a long and noble history of of-
fering sanctuary to those who find them-
selves excluded elsewhere. Charles Jeffrey,
who once said he was first assaulted on
the street of his hometown in Scotland
for being different at the age of 16, is
the latest in a glorious line of aestheti-
cally decadent and proudly queer creative
fashion forces to have emerged from the
capital’s club scene.
During his studies at Central Saint
Martins, during which interned at Chris-
tian Dior’s couture atelier, Jeffrey was a
regular at Ponystep and Boombox. He
then founded his own night, LOVERBOY,
dedicated to celebrating what he called
“the visuals of going out”. Those visuals
– clothes so riotously abnormal they de-
mand to be both looked at and worn as
proud declarations of difference – seemed
almost fully-formed by his catwalk debut
as part of the MAN showcase in London’s
Autumn 2016 show season.
Yet every season since, Jeffrey’s lan-
guage of cleverly deformed tailoring,
post-punk disarray and undress as a form
of overdressedness has developed in a fresh
and provocative way. I was lucky enough
to be seated alongside Jeffrey when he was
declared winner of the Emerging Talent
menswear category at the British Fash-
ion Awards: dressed in outrageous make-
up cats-eye contact lenses, he was close
to tears as he accepted the prize from his
idol, John Galliano. He also owes some
of his language to another idol, Vivienne
Westwood, and freely acknowledges that.
If there is a suspicion that Jeffrey’s
shows are as much about the happen-
ing – the highly-entertaining dancers
and the extreme performance – as they
are about the clothes, then that suspicion
is totally justified. His most recent show
for instance, S/S 19, featured twitching
dancers performing a writhing display of
‘pain and protest’ as as both celebration
and statement of solidarity with the trans
community. Jeffrey’s clothes and shows are
emblematic of a credo that dressing how
you want, dancing how you want, and lov-
ing who you want are all non-negotiables
in being who you really are.

Photo Asia Werbel. Courtesy Press Office. 95

CULTURE CONTENT L' U O M O NO. 000

96
 SHAWN STUSSY
THE MAN WHO INVENTED
STREETWEAR
Eleven minutes into meeting Shawn
Stussy – the originator of so much of
the culture we now called ‘Streetwear’
– we get to the first big question. Af-
ter 23-ish years out of the game, would
Stussy ever pick up a Sharpie and start
designing again?
“Yeah,” he says, leaning forward on
the café table: “Yeah! But with the right
kind of mechanism. Because that’s what
it is, it’s a mechanism, a huge beast. It’s
not about just one guy anymore. I had
the kind of Wild West time, all through
the 80’s and early 90’s: but it’s a whole
different world now.” Shawn Stussy,
who effectively retired when he sold
his interest in his eponymous label to
his partner in 1995-ish (he has a surf-
er’s laconic disrespect for dates), knows
that the business of streetwear changed
radically since - and was changing
even then. “Simultaneously our little
A model wearing Stüssy. Photo Tiziano Magni, Vogue Italia, gennaio 1992. © Tiziano Magni.
culture had started to become bigger,
and something else.Yeah, and it turns to
the Supreme mode: James (Jebbia) did
really great with Supreme. And then,
more recently, obviously the merging
of it within the big conglomerate, cor-
porate model - proper luxury fashion
goods. So the world I kind of incubated
has turned into another thing.”
That it has. We meet in Paris in
June, two days after Kim Jones’ first
show for Dior Men. Stussy has been a
quiet cameo visitor to the September
womenswear shows since 2013, but this
year he’s in France earlier, out of that
usual synch, ready to lean into some life
changes: he’s just bought a little place by
the water on the Basque coast and has
been there with his sons. “I was meant
to go to a few shows this time,” says
Stussy. “But I stayed at the beach. My
boys were with me, the sun was out, so I
kept changing my ticket. But I thought
‘hey, I at least have to see Kim’s thing’.
So I made it here for that.”
Jones had heard Stussy was in France
during menswear and emailed to in-
vite him to the show. After it, I bumped
into Stussy on the farthest fringes of
the congratulatory throng around the
the designer: he was debating whether
to go and join A$AP Rocky, Naomi
Campbell and Kim Kardashian and
say hi. Instead, he melted away with
friends. Stussy seemed almost shy to
go and introduce himself: at our café,
he explains: “I’ve never crossed his path
before because I haven’t been involved
for so long - and it was so crowded.
But Kim’s super-talented. He did a great
job.”
Jones would doubtless have been
thrilled to meet Stussy. The Dior de-
signer’s very first employment, when
By Luke Leitch
still a student in 1999, was in the stock-
room of Gimme5, the first UK importer
of Stussy’s brand. For Jones – as for pretty
much everyone in streetwear, menswear,
or whatever you choose to call where
we are in 2018 – Shawn Stussy’s work
has helped define his professional world.
Here’s how. Shawn Stussy was born
in 1954 in Long Beach, fortunate
enough to be raised a Californian surf
rat thanks to his grandfather Fred Stus-
si’s emigration from Switzerland to the
US in 1902. Had the immigration of-
ficer not misspelt Fred’s surname, the
countless Stussy garments on the streets
today would all have looked subtly dif-
ferent. Shawn started out as (and con-
tinues to be) a shaper of surfboards – the
art of sculpture in foam and fibreglass
for an audience of kinetically-charged
waves – and is very precise about this
particular moment. “I turned the lights
97
CULTURE STUSSY L' U O M O NO. 002

On these pages. Shawn-era Stüssy ads featured his signature graphics, surf, Marley lyrics
and Hiroshi Fujirawa. Previous pages. Shawn Stussy photographed by Ivan
Terestchenko. Stussy in the early 90’s and in 1977 on the north shore of Oahu
in Hawaii, photographed by Craig Fineman.

on in my building on Laguna Canyon
Road in March 1980. I was 26. That’s all
I know. It was a big hippy centre there,
Hare Krishna, everything.”
At first the boards were Stussy’s total
focus, and the business was hard. “I’m a
starving artist making surfboards, living
off my credit card.  Zero money. A kid
in a little room with a dream.” In 1981,
as Stussy recalls, “The phone rang. A
Japanese woman. The fuck? She was an
interpreter for this guy who had a little
surfboard factory out in the country at
Suzunami beach.  He had driven up
and down the coast and happened to
see my surfboards on the beach. And
he was on a mission to bring somebody
from California to Japan, so he invited
me to come shape in his little factory
in the country.  So I went with my
tools. I would go for four, five weeks
at a time.  Come home with X amount
of untouched bills with this little paper
thing around them from the bank and
pay off my credit card.” Stussy’s trips to
Japan would always include a couple of
nights in Tokyo. “I’d walk the streets
and was ‘what is this Yohji Yamamo-
to-what-who? And across the street...
Comme des Garçons?’ And there was
Issey Miyake, who was already pretty
well established.” Stussy, who describes
himself then as a “flea-market kid, al-
ways dressing funny, always interested
in clothes”, says this early encounter
with capital-F fashion was “so new and
strange to me as a clothing savvy Amer-
ican kid. It was hugely influential.”
Every experienced surfer knows to
stare long and easy at the horizon in
order to detect patterns and sets in the
apparent chaos. During our time to-
gether today Shawn Stussy shares some
of the tectonic theories of menswear
he has developed during a unique –
and still ongoing – life both in deep
fashion and well beyond it. One major
hypothesis is that menswear’s greatest
age – its fulcrum – fell at a very par-
ticular moment. “What you’ve got to
realise, there’s a golden era of men’s
clothing, fashion type of clothing, to
my mind. And it’s, say, 1958 to 1962.
Then there is no rock and roll: there
is no Beatles. Then, every person from
Jackson Pollock to Miles Davis to Al-
len Ginsberg to Andy Warhol to John
F Kennedy to Miki Dora wore Ivy
League clothes, sliced and diced. Men
could only draw from that Ivy League
bag of clothing. But everyone put their
own stamp on it. This was the zenith of
art and literature, for me: pre rock and
roll. Then, within a few years you have
Sgt. Pepper’s jackets and feather boas
and fedoras. That’s still for me what I
pull from the bag now, and that’s what
Stussy did then.... So  I’m starting out
in the surf industry but getting zero
influence from the surf industry. It
was coming from jazz, and Ivy League.
Does that make sense?”
It does, once you stare at the hori-
zon awhile and consider the influences
that swirled to make the story of Stussy.
In 1980 he starts with the surfboards.
What he saw in Japan, the fashion, has
a deep impact. And then, without ever
consciously meaning to become a de-
signer of clothes, he became a designer
of clothes - thanks to his graphics. That
happened at US trade shows – ‘ASR’s,
or Action Sports Retail shows’ – where
he showed the boards which bore his
jagged handwr itten g raphics, and
an umlauted-u signature influenced
by that of his artist uncle, Jan. Those
graphics, which today remain the vi-
sual bedrock of the brand Stussy left so
long ago, were less about Ivy League
and more about another spirit that had
risen in the early 1980’s: “Those were
like punk: quick.” In 1982, along with
his boards, Stussy also printed up a few
t-shirts for an ASR: these sold like cra-
zy, and the impoverished board shaper
suddenly had a new revenue stream.
Not so long after, he had a new part-
ner too. Frank Sinatra Jr was at first
Stussy’s accountant. “When I started he
would do my taxes and I would give
him a board each year.” As the 80’s skate
boom helped boost Stussy’s name (I
first saw it as a pre-teen skater in the
Ron Leighton shot and Shawn Stussy
drawn ad campaigns that featured in
imports of Thrasher and TransWorld
Skateboarding), Sinatra Jr came on as
a partner. Stussy calls Sinatra “a great
guy” and adds that “he ran the daily
business” and was responsible for much
that allowed the brand to grow, includ-
ing the computerisation of its logistics
systems.
What drove that growth, however,
was Stussy’s machine-gun output of
punkily subversive graphics applied to
elements of the Ivy League menswear
template – t-shirts, baseball jackets, Sta-
prest style pants (and later the masterly
beach pant) – that he remains entranced
by. Looking back now, the graphics in
particular were ahead of their time – at
least fashion-wise – in their guerilla ap-
propriation of other brands’ language: a
combination of post-Warholian cultur-
al awareness and an observation of the
world around him, especially New York
hip hop culture’s appetite for wearing
and re-inflecting luxury goods, led
Stussy to sketch what were (I believe)
fashion’s first-ever logo flips. “It was just
me making fun of luxury. So there was
the Rolex broken crown. And the SS
link and No. 4 was fucking with Chanel.
I was having fun, boom, boom, boom:
like when I did the world tour design -
Tokyo, LA, London, New York and Paris
on the front, and Brooklyn, Compton,
Santa Ana, Bronx and Venice on the
back”. At the time, says Stussy, neither
Chanel nor Rolex got in touch to com-
plain, “because we were completely un-
der their radar.” Only the photographer

98
CULTURE STUSSY L' U O M O NO. 002

Shawn Stussy’s jaggedly-drawn signature

logo was inspired by that of his uncle Jan,
an artist. It has since become one
of the most ubiquitous and recognisable
marks in fashion around the world.

of an image of Bob Marley used on a
t-shirt ever raised a ruckus.
As Stussy grew big in New York, big
in the UK, big in Japan, and big in
Australia, Shawn travelled. As the Stussy
tribe grew, he paid more and more at-
tention to retail. When he travelled he
visited particular stores - A.P.C. and
Agnes B especially - and he increas-
ingly thought about the potential of
being in charge of your own sales en-
vironment: your own world. Until: “I
go to my partner and said ‘let’s open a
store in New York’. He said ‘never in
a million years, we’re wholesalers, not
retailers. That’s a kiss of death.’ Okay
Frank, I get it.”
Along with Patricia Field, Stussy’s
second main New York retail client
at that time (1991) was Union, which
was founded by James Jebbia and Mary
Ann Fusco in 1989. They had become
friends and, recounts Stussy,: “James and
I are together and we go, ‘Why don’t we
just do it?’  We saw the writing on the
wall. So we opened Stussy in New York
completely separate from my business.
I leased my name for a dollar a year for
retail in New York. James pulled Stussy
out of Union, and we made our store
on Prince Street.  And that’s when the
thing changed: now I can go in there
and make a build out like I always want-
ed – it seems very innocent now in
hindsight. But when you talk to people
in that era, it was kind of interesting.”
Soon, says Stussy, the New York store
represented “5 percent of Stussy’s sales,
but 100 per cent of its image.”That store
also represented a step up, putting Stussy
on radars it had previously flown be-
low. One night, Stussy and Jebbia were
sitting across the street in Jerry’s diner
when they saw Giorgio Armani, flanked
by two American assistants Jebbia knew,
peering through the window of the
Stussy store. “And I was like, ‘oh, this
is cool’. That was a great day and I’ll
always remember it.”
There are always two sides to ev-
ery break-up. According to Stussy, his
departure from his brand happened
because he had discovered the joy of
fatherhood and lost the joy in his work.
By late 1995 – a year in which his la-
bel turned over $35 million – Stussy
had had enough. “I mean, I’m 41 years
old, it’s 6pm on a hot summer Friday
night in LA, I have bags of fabric over
my shoulder and it’s going to be four
hours to get home. I’ve got a bunch of,
for me, a bunch of money at the time,
with a baby, and I go: ‘what the fuck am
I doing?’”
Furthermore, says Stussy, the vibe
within his business had changed as it
had grown.With great fondness he por-
trays the earlier days at Stussy as pre-
cisely how you would expect. “So there
were maybe 20 people, all friends. We
were like-minded: we listened to reggae
and we surfed. So if we quit for lunch,
Bob Marley’s blaring, there might be
a joint involved, and we eat Mexican
food from the food truck.” This sounds
like a pretty ideal work environment.
At some point, however, what Stussy
calls “a religious thing” transformed
that environment. “That same crowd
- all wonderful people, don’t get me
wrong - but, well, this was this thing
going on in America at the time, in Or-
ange County in particular. Born Again
Christians, something called the Cal-
vary Chapel. So all of a sudden I come
home from travelling and there’s this
evangelical talk show being pumped
through my building. That was part of
this whole change.”
“We had no falling out”, says Stussy
of his relationship with Sinatra Jr. “I
sold. And I walked away with a big bag
of money. I just walked out the door
and never looked back. So I haven’t seen
him for 20 years.”
Stussy adds: “I really wanted to be
as pure having my children and rais-
ing my kids as I was in my starting my
business and raising that business. So I
had 20 years in business, then 20 years
of raising the kids. And now I’ll have
the third chapter: 20 years of whatever
is coming now.”
Last year Stussy and his wife Pau-
la separated, selling up the house in
Montecito in which their sons Penn,
23, Chet, 22, and Tate, 16, were raised.
Hence his new acquisitions here in
France (he’s also rented a flat in Par-
is). Stussy intends to divide his time
between here and Hawaii during his
third chapter - and also to get back to
work. He’s always continued to design
graphics, and to shape boards, and for
the last few years has dabbled in a Jap-
anese-based surf partnership named S/
Double.
Now he’s marinating thoughts of
a more substantial project. “I realise I
want to be engaged again. And I think
there’s an opportunity over the next
few years. As we go so far with cra-
zy and kind of obvious fashion I think
there’s going to be a reaction in the
other direction… I just want to refine
what I want to wear - it’s as simple as
that. Because that’s all I ever did, and it
worked: what we made when I made
Sussy looks good today, which means
it wasn’t crazy. But the guts of it needs
to be for myself, because that’s all I ever
did, and it worked.”
What Stussy can’t ever do again is de-
sign using his globally famous surname
- he sold that right in 1996. But how
about this: if Gucci can market Guccy
could Shawn Stussy start Stussi? Maybe
that spelling mistake by Grandpa Fred’s
immigration officer back in 1902 will
prove to have been a gift. But enough of
dreaming up plotlines of a story that has
yet to be written: the only person who
will shape Shawn Stussy’s third chapter
is Shawn Stussy himself.

Yo-Yo, courtesy Everett Collection/Contrasto. Hoodies, Everynight Images/Alamy Stock Photo. All ads courtesy Shawn Stussy. 99
JOE PHOTOGRAPHS BY

SCOTT TRINDLE

ALWYN
STYLING BY
JAY MASSACRET
Sweater, t-shirt and trousers Alexander McQueen.
Opening pages. Coat and trousers Prada; turtleneck Sunspel.
 Interview by Samira Larouci

The story of 27-year-old North London actor Joe Alwyn’s rise to fame is straight out of a Hollywood fairy tale. Little over two years ago, Alwyn was entering his
final year as a student at the Royal Central School of Speech and Drama when he caught the eye of two-time Oscar-winning director Ang Lee. The Taiwanese
auteur behind Brokeback Mountain and Sense and Sensibility cast Alwyn (who up until then, had never been in front of a movie camera) for the emotionally-
charged lead role in Billy Lynn’s Long Halftime Walk – a film that documents the f lashbacks and stark realities facing a 19 year-old soldier who becomes
a hero following a harrowing battle in Iraq. In a matter of months, Alwyn catapulted from unknown student to leading man, starring alongside heavyweight
actors like Kristen Stewart and Steve Martin. Yet despite having a string of blockbusters in the pipeline – including Operation Finale and Mary Queen of Scots
– as well as a Prada campaign under his belt, Alwyn defiantly remains the same Kentish Town-raised boy he’s always been: humble, ambitious and grounded.

How would you describe working with
Ang Lee?
It was definitely surreal, overwhelming
and strange at times. I’d never been to
America, I’d never been in front of a
camera and these were people I grew up
watching, so there was definitely that
surreal element to it. With him being at
the helm I couldn’t have felt safer: he’s
such an incredible, special and kind per-
son. I really owe him everything.
One minute you were in school, the next
you’re the lead in a Hollywood movie.
How did your classmates react?
Ever yone, including my schoolmates,
was really proud and happy – even I
didn’t really compute what was going on.
Which in some ways was good, because
I didn’t have time to get nervous. I was
thrown in so hard and fast that it didn’t
really have time to sink in.
What’s life been like since then?
I don’t feel any different as a person really
– it hasn’t changed who I am. Every job
is still a surreal experience and a learning
curve. When you’re auditioning for the
things you really want, it’s rare to find
something that really suits you or that
you really love. I give it everything I
can when I’m auditioning for those roles.
Your upcoming movie, The Favourite,
was directed by Palme d’Or winning di-
rector Yorgos Lanthimos. What was it
like working with him? And your co-star
Nicholas Hoult?
I’d met [Nicholas] a couple of times be-
fore actually, and he’s great. He’s so much
fun, a lovely person, and he’s so funny in
the film. Yorgos is not the same as Ang
but he’s a visionary too. He has such a
singular, unique, individual mind – his
films are so special and unusual, so to get
to work on one of those was incredible. I
play a guy called colonel Samuel Masher
– he’s relatively high status in the court
of Queen Anne, and there’s this young
servant character who is looking to climb
the ranks. She spots him and they lust af-
ter each other: particularly him towards
her, and she quickly cottons on to the
fact that she can climb the ranks if she
were to marry or become romantically
involved with him. Every scene between
them is a cat and mouse power play.
I can imagine working on a Yorgos set is
pretty surreal…
It’s not as crazy as you’d think it would
be. Although had a two-week rehears-
al period and that was the crazy bit.
We ended up just rolling around on
the f loor and playing lots of different
games, and then when he turned up to
set – which is a very calm, controlled
set – very little is said in terms of di-
rection. And again, there’s no talk of
character or motivation. He builds such
a descriptive set with the lighting and
the costume it’s already done for you.
He’ll just say “louder” or “quieter” or
“faster” or “slower” – he’s very minimal
in that way.
Boy Erased is also due to come out lat-
er this year. The film follows the son of
a Baptist preacher who is forced to par-
take in church-supported gay conversion
programmes. A lot of your roles have an
element of social commentary – is this an
intentional?
The script was such a shocking and mov-
ing story, especially in light of what’s
going on today. The heart of the film
explored gay conversion therapy which
is especially disturbing during a time
when we have an American vice presi-
dent who has spoken on the record about
leading gay conversion therapy – so it
seems like an appropriate time to look
at how mad and terrifying those places
are. When reading something, I know
pretty quickly if I like something or not.
By and large the things I’ve wanted to be
involved in I’ve fought for.

103
Polo and trousers Prada.
Opposite page. Jacket, sweater, trousers and shoes Prada; turtleneck Sunspel.

Grooming Matt Mulhall @ Streeters. Styling assistant Letizia Maria Allodi.

104
A VERY
PERSONAL
PLACE
Edited by Federico Chiara
Illustrations by Patrick Vale
An all-female dream team. Six women authors with different histories, styles
and origins. One common denominator: their perfect command of the narrative
mechanisms that draw us into a short story, leading us to far-off places and
times. Their storytelling goes beyond cultural and geographical clichés to reveal
that contemporary identity is rooted in migrations and movements – which can
be trivial or epic, and often unexpected. By doing so, they show us a basic but
often forgotten truth: who we are today depends on how we relate to the Other.

IRAN
By Lila Azam Zanganeh
Home is a place I lost and do not know.
It is the place of the mother, the mother
country, the deep verdant woods of North-
ern Iran, where, once upon a time, she
walked the humid land, fell off an untamed
horse, and refused to eat fresh Caspian fish.
Home is a city to which I won’t return.
A city I’ve barely seen, and do not remem-
ber. At night, dinner conversation, so far
away from home: old crossroads named,
gleaming harbours recalled, round salty
lakes. I don’t know them, won’t ever know
them. Because if they still existed, they
no longer do exist. They are disfigured,
names changed, maps shifted by boys with
pick-axes.
Home is a country of ancient spires
and turquoise domes, of stones scintillating
in the sun and blue-black seas. Home is a
country of dry, windy cities, and concealed
gardens where the shadows of poets speak.
Do not grieve, says the poet, do not grieve,
for lost Joseph to Canaan will return.Time
and again I’ve heard this line in my mind.
Hafez whispers to me across the seven cen-
turies. And now I know why this line tor-
ments. In the Bible, Joseph never returns
to Canaan. Yet ten times Hafez assures us
that he will.  for the 2017 Man Booker Prize.
Home is a place for which I do not
grieve. Because I hold it in my hand, and
conjure its centuries at will. Landscapes
that rise and fall, live worlds inside shadows
in my eyes. Spaces full of spheres, sunshot,
almost silent. The plateaus of Kurdistan,
where my father rode saddle-less horses,
and ate wild berries as a very young man.
Perhaps my parents’ loss of country is
merely theirs, it’s no longer mine.Through
their lilt of Persian, I have learnt my own,
French-inflected, ever foreign. Through
their loss, I have found my place, the only
place I know, the only home I want. A
place that’s always here, and nowhere at
all, a home without perimeter. Its centre
in nearly all the cities I visit, in the mystery
of kindly gazes. It is a home for the restless
heart, for wild ungrieving men.
Born in 1976 by exiled Iranian parents
and raised in Paris, Lila Azam Zan-
ganeh lives and works between New York
and London. She is the author of The
Enchanter: Nabokov and Happiness
(Penguin, 2011). She writes for The
New York Times, The Paris Review,
Le Monde, and was a member of the jury

107
C U LTU R E L IT ER AT U RE
There’s a place in Tuscany overlooked by
a castle and surrounded by a patchwork of
woods and wheat fields (which, since the
switch to organic, are also planted with
flax). At some point it became my home:
San Casciano dei Bagni, in the province
of Siena.
In my mind, my husband’s family house
represented the restoration of an inter-
rupted childhood, the place dearest to my
heart where I could be a queen again, like
the girl who used to twirl around in the
halls of our seaside house. It was an up-
graded evocation-restoration too, because
sometimes the things we’ve lost can return
in a more magnificent form: a 15th-centu-
ry villa, a driveway lined with cypress trees,
a swimming pool and a chapel (“Everyone
come to my place for Mass!” I dreamed of
108
L' U O M O
TUSCANY
By Teresa Ciabatti
saying). One day, far from now, I imagined
they’d bury me there, and my daughter
would only have to cross the courtyard to
weep at my grave. “Picture our daughter
dropping by barefoot to leave her mum a
flower before diving into the pool. Because
I’ll die young,” I used to say, hoping this
matter would further the fulfilment of my
dream. “Young but happy,” I would smile
blissfully, already on my way heavenwards.
“Thanks to you, who gave me this won-
derful house, unlike my father who sold
my childhood home.” The giver in ques-
tion was supposed to be my husband.
For months we’d been discussing the
prospect of leaving his small farm with
its two bathrooms, two bedrooms and the
sole comfort of a TV. Put simply: abandon
the hovel, which was also in San Casciano,
and move into the family villa. We argued
because the giver of the villa refused to
cooperate: “I’m not cut out for living in a
big house with a cypress-lined driveway.”
“I am, I am,” I yelled. “I’ve waited a life-
time for that house – the driveway, me by
the pool, me absent-mindedly watering a
rose bush, me, me, me! A whole lifetime,”
I stressed tragically.
He defended his position with baseless
arguments: “We can’t afford the upkeep.
We have to think about our daughter’s fu-
ture and her studies, not swimming pools.”
“One question,” I asked, shifting to a
not-so-distant future. “Where will the girl
celebrate her 18th birthday?”
The conversation went on like that, flaring
up and dying down, only to kick off again
with greater zeal. “I’m leaving you” (I said
NO. 002
dashing to pack my bags).
“Leave me.”
So we ended up staying in the humble
house, or rather the one we could afford
with what we earned.
I realised that my mistake was marrying
a man like him, when I could have been
on a yacht or in a castle. Sure, I’d be with
a less intelligent and less responsible man.
And yes, maybe he wouldn’t be as honest
or sensitive as my husband, or such a loving
and ever-present father.
Born in Orbetello (Italy) in 1972, Teresa
Ciabatti writes novels, screenplays and
short stories. Her last book, Matrigna
(Solferino), is out this month in Italy. The
previous one, La più amata (Mondadori,
2017), was finalist at the Premio Strega.
C U LTU R E L IT ER AT U RE
“You’ve been running all your life,” said
Ryong-jun. “From Hoeryong to Seoul,
and now to Jeonju, of all places.”
Dae-ho said, “Running toward Jeonju
is more accurate.”
After a full day in Jeonju’s hanok
district, he didn’t understand how Ry-
ong-jun wasn’t enchanted by the tea
shops, the community of artists and mu-
sicians, the low tables laden with seasoned
mountain vegetables. They had strolled
past several streets of hanok, their eaves
curving gracefully at human level, and
returned to the one where Dae-ho was
apprenticed to a master potter. Dae-ho
was proud of the hanok even though it
wasn’t his, just as he was proud of the
master’s pottery.
L' U O M O
JEONJU
By Krys Lee
“None of this is yours,” said Ry-
ong-jun with worry in his voice.
Ryong-jun had a car magazine tucked
under his arm in case Dae-ho missed his
progress parked in the rear lot. The two
had fled North Korea separately, but once
in South Korea they had stayed together
at the Hanawon refugee centre, then stud-
ied at the same arts university. They had
entered the brave new world that kept
telling them the only one that mattered
was yourself.
Dae-ho held up a large earthenware
jar that he had made during his appren-
ticeship. “This one is mine.”
Ryong-jun eyed the rough, unglazed
surface. Its quiet, humble beauty. “If you
sell it, how much will you make?”
Ryong-jun’s eyes slid from the jar to
the car framed by the window. The one
he had worked double shifts at the glass
factory to purchase. He didn’t understand
that when Dae-ho turned the wheel and
cut into clay, the nightmares disappeared.
That he had finally found a home. Ry-
ong-jun was the closest thing to family
that Dae-ho had left, and he worried
about him like a brother.
Ryong-jun added, “You’re burying
yourself in Jeonju.”
Dae-ho gestured to the alley of studios
and shops. They were all buildings of a
human scale that didn’t overwhelm you.
He said, “I can’t keep up with Seoul. Or
Pusan.”
“Who’s going to marry you without
NO. 002
money? Without a car, no one will look
at you.”
“Who needs marriage? Or money?”
Dae-ho placed the jar into Ryong-jun’s
hands but it was too heavy for his loose
grip. It shattered.
They were two men with a dream. A
broken vase. And a used Hyundai Elantra.
Krys Lee was born in Seoul, and raised
in California and Washington. She is
the author of Drifting House (Faber
& Faber) and How I Became a North
Korean (Penguin). She teaches at Yonsei
University, Underwood International
College, in South Korea. This short story
was written while she was at the artist’s
residency of Civitella Ranieri (Italy).
109
C U LTU R E L IT ER AT U RE
Come to London – to see a lamppost?
I said.
Not just any lamppost, you said.
A five-hour jour ney on a stand-
ing-room-only train? For which I had
to get up three hours early? To be here
for one hour? And leave 40 minutes from
now to catch another train home in time
to sleep before work tomorrow – and a
whole week’s wait for my next day off?
So you can show me a lamppost? I said.
A unique Coco Chanel lamppost, you
said.
Smells like any other lamppost to me, I
said. And that one over there looks exactly
the same.
Well, yes, you said, okay, all the lamp-
110
L' U O M O
LONDON
By Ali Smith
posts in Westminster are like it. But no-
where else in London. Nowhere else in
the world.
You put your arms around me and
turned me round, traced my hand against
the fancy-looking gold zero which, I now
saw, wasn’t a zero at all but a C facing
backwards entwined in another facing for-
wards. I looked past the lamppost at the
Houses of Parliament, where right then
the MPs inside were doing their own for-
wards/backwards dance, debating leaving
Europe.
The story goes, you said, the Duke
of Westminster was still so in love with
Coco Chanel decades after their affair
finished that he had all his lampposts
embossed with her initials.
How can anyone own a lamppost? I said.
Well, for the socialist in each of us, you said,
the story also goes that these initials just
mean City Council.
Ah, I said.
The duke’s family apparently prefers this
other story, you said.
I bet they do, I said.
But I brought you here, you said, be-
cause I want you to know that because of
you this street, this city, now and forever
belong to me.
Flatterer, I said.
And whatever happens to us over time,
rich or poor, together or apart, you are its
lamplight, you said.
NO. 002
I’d come all this way, for someone I
hardly knew, to see a lamppost. No, not
just a lamppost.The seat of power.The past
and the future.
The thing is, given the choice to unite
or divide I’ll choose unite every time.
Power of love.
Born in 1962 in Inverness, Ali Smith is
a Scottish author, playwright, academic
and journalist. Described as “Scotland’s
Nobel laureate-in- waiting”, her last
novels are Autumn (2016), shortlisted
for the 2017 Man Booker Prize, and
W i nt er (2017, both p u bli sh ed b y
Hamish Hamilton). Her next novel,
Spring, will be published in 2019.
C U LTU R E L IT ER AT U RE
HIERVE EL AGUA
The morning the gel shortage was de-
clared, he flew into a panic.
“The future, it’s over!” he cried and
started smashing the china. She stepped
aside. She had never seen him like this.
When they lost the child to the heat, it was
he who’d upped and moved them to the
mountains, he who’d danced the tarantella
in his underwear until she had to laugh,
had to stay alive. But now she felt strangely
poised at the sight of him losing it. It was
a bit like having the child back. She wor-
ried only when he approached the drums
where every day, painstakingly, they distilled
their urine. It was a rudimentary system and
L' U O M O
By Laia Jufresa
likely wouldn’t withstand a blow.
“If you stop this right now,” she said,
“I’ll show you a waterfall.”
He couldn’t have believed her, of course.
The rivers were dry and it hadn’t rained
for decades. Still, he stopped. He followed
her uphill. They paused only once, to eat
and to share a government-distributed gel
blob – for all they knew, their last.
At dusk they reached a plateau and the
ruins of an old spa. It was crowded because
of the spring that gave the place its name:
Hierve-el-agua, where the water boils.
Like all the springs, it had been covered
with stainless steel a long time ago and
had died shortly after. Yet it still attracted
treasure hunters – men were hacking at
it with chainsaws – and mystics – an avid
group sat around a preacher.
She guided him through the pools.
Where once they had brimmed with
crystalline water – a turquoise colour like
the pictures of the Caribbean now many
claimed were a hoax – now they were cov-
ered in tents and locked sheds where the
loiterers kept their distilling drums.
Reaching the edge, they looked across
the valley and saw it.
“Nothing but minerals,” he said after a
while, “a water fossil. So beautiful.”
NO. 002
Her heart sank. She feared he’d choose
to dry up there, with that view, rather than
go back home with her.
He stood up. He stretched. He said, “I
can see it again, now.”
“The water?”
“The future.”
Born in 1983, Laia Jufresa grew up in the
cloud forest of Veracruz in Mexico, and
spent her adolescence in Paris. In 2001, she
moved to Mexico City. She is the author
of the short stories collection El esquinista
(FETA, 2014) and the novel Umami
(Literatura Random House, 2015).
111
C U LTU R E L IT ER AT U RE
PORTSMOUTH
At Fratton Station, Sulaiman Jamil stepped
into the announcer’s booth every day and
sat down in front of the metal microphone,
wiping it gingerly with his handkerchief.
As he emptied a glass ashtray brimming
with cigarette butts, he glanced up at a
worn calendar of Samantha Fox taped to
the wall. She wore a dangerously high-cut
gold leotard, turning sideways so her pert
bottom was almost visible in the camera
shot, as though she were offering it, prom-
ising it. Her feathery blonde hair hung
loosely around her face and, with a finger,
she pulled the front of the gold bodysuit,
exposing all but a centimetre of her breasts.
Every morning as Sulaiman Jamil en-
tered his booth and began his routine of
112
L' U O M O
By Fatima Bhutto
tidying his desk before the day’s work, he
blushed and tried to avoid the mocking
glance of Miss Fox.
“My office, janaab,” he wrote to Nur
Muhammad, his best friend, “overlooks a
magnificent train station, connecting Ports-
mouth to the great United Kingdom. It is
exceedingly neat and clean.”
Sulaiman Jamil hadn’t received any of
his friend’s cheery blue airmail letters in
weeks. He had tried to convince Nur Mu-
hammad to leave India with him, to get on
a plane, to cut his ties, to seek his fortune
in the open skies and remake his destiny
in England. “What hope did we have back
there?” India in 1990, whatever they said
on the World Service radio, was closed to
the world. But Nur Muhammad refused
to leave.
Not because he loved his home. Not be-
cause he had anything there, in Varanasi, to
protect – no business, no wife, no life. Just,
“No, I’m not going.” That’s all Nur Mu-
hammad said. “The West is finished, wait
and see. The sun they are always going on
about? It’s about to set. Wait, don’t wait,
makes no difference.You’ll see.”
Sulaiman Jamil thought of Nur Mu-
hammad, his best friend, his only friend,
standing next to bloated pye-dogs feeding
off the remains of the dead at the ghats,
hawking his services to pimply English
teenagers, and he was overcome with guilt
for not insisting enough. Nur Muhammad
NO. 002
was wrong, Sulaiman Jamil was almost sure
of that.
“I think of you,” he wrote on the thin,
gauzy paper, before quickly scratching it out.
Sulaiman Jamil looked out the small,
cloudy window at the crisscross of rust-
ed railway tracks and wondered where his
friend was now.
Fatima Bhutto, born in Kabul, Afghanistan,
in 1982, is daughter of Murtaza Bhutto,
niece of former Pakistani Prime Minister
Benazir Bhutto and granddaughter of
former Pakistani Prime Minister Zulfiqar
Ali Bhutto. She was raised in Syria and
Karachi. Her new novel, The Runaways
(Penguin), is out this month.
THE BOLD PARKA
1
 L’ U O M O F O R F I AT

THE PINNACLE
OF URBAN
ELEGANCE

The new 500 Collezione and L’Uomo Vogue

join forces to tell an exclusive story of
urban style. Cutting edge detailing meets
contemporary flair. Poetry in motion.
Top. Sunglasses Laps
collection by Italia
Independent; shoes
Common Projects. Bottom.
Shoes Santoni. Left. Hat
Cambiaghi. Opening page.
Sunglasses Laps collection
by Italia Independent.
Top. Backpack
Valextra; helmet
Bergamaschi; boots
Timberland; guitar
Noah Guitars. Left.
Briefcases Valextra;
shoes Common
Projects; shaving
set Acqua di Parma;
instant camera Fujifilm;
watch Hublot.
 Born for the spotlight. A flawless car that expresses the elegance
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“The well-dressed man is he whose clothes you never notice.” One of the best-known
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Directions of Style

FASHION Paolo Roversi’s portfolio

of remarkable men
Page 122 — 151

Ethan James Green’s candid portraits of LGBTQ families

Page 152 — 161

Go East Young Man:

Tom Johnson rides with the Csikós of Hungary
Page 162 — 177

Richard Gere
photographed
by Brigitte Lacombe
Page 178 — 187

A Riviera Story
by Benjamin Alexander Huseby
and Thomas Persson
Page 188 — 197
REMARK
ABLE
MEN W
I MET
BY
PAOLO
ROVERSI
STYLING BY HANNES HETTA

Opposite page. WILL PELTZ actor, based in Los Angeles. Wears coat Corneliani; shirt Ann Demeulemeester; trousers Saint Laurent by Anthony Vaccarello; shoes Ermanno Scervino; vintage scarf and hat.
Opening page. MELVIL POUPAUD French actor, author and filmmaker. Wears turtleneck Boss; hat Ermanno Scervino.
ADRIAN JOFFE president of Comme des Garçons International. Wears suit and shirt Comme des Garçons Homme Plus.
Opposite page. PIERRE NINEY French actor described by Roversi as “very magnetic”. Wears suit and shirt Dior Homme.
MATTEO ROVERSI son of Paolo, music student, described by his father as “a dreamer”. Wears coat Givenchy; shirt Lanvin.
GABRIEL-KANE DAY-LEWIS actor, “sensitive but really strong”. Wears coat Michael Kors; vest Ann Demeulemeester; shirt and trousers Kiton.
 ANTON CORBIJN Dutch photographer and film director. Says Roversi: “We’ve been inseparable”.
Opposite page. JULIEN D’YS Breton polymath and hair stylist. Wears coat and shirt Dolce&Gabbana.
RAAD AL GABRIL model, described by Roversi as a “romantic punk”. Wears sweater Ermanno Scervino; shirt Salvatore Ferragamo.
Opposite page. NOE MARTIN model, described by Roversi as “sweet and romantic”. Wears shirt and trousers Dunhill; ring Noe’s own.
MATHIAS AUGUSTYNIAK AND MICHAEL AMZALAG founders of the M/M agency who, says Roversi: “Always push me towards unexplored territories”.
Left. Mathias wears coat and trousers Loewe; sweater Margaret Howell; shoes Church’s.
Right. Michael wears shirt Études; tank top Alexander McQueen; trousers Kolor; hand-warmers (worn as socks) Gucci; boots Prada.
JEREMY BRODBECK photographer.
JEENU MAHADEVAN Norwegian model of Sri Lankan heritage. Wears trousers Kiton. Opposite page. Wears jacket, shirt and tie Fendi; vintage brooches.
SAMI YOUNIS French model, student and actor who, says Roversi: “Has a feature, a detail that cought my attention”. Wears coat Paul Smith; shirt Pihakapi; trousers Namacheko.
FERNANDO CABRAL Portuguese model (and keen footballer) born in Guinea-Bissau. Wears jacket, shirt and trousers Wales Bonner; vintage hat.
DARIUS KHONDJI cinematographer of whom, says Roversi: “I learn from him”. Wears coat Giorgio Armani.
Opposite page. TAE MIN PARK model. Wears cape and shirt Valentino.
 RAPHAËL LOUREL former violinist, current language student and model, Paris. Wears jacket, shirt and headpiece Gucci.
Opposite page. CAMILLE BLATRIX sculptor who, says Roversi: “Has a whole world of creativity and imagination in his eyes”. Wears shirt, sweater and trousers Lanvin; shoes Church’s.
Previous pages. GUERASSIM DICHLIEV famed mime artist. Wears coat and trousers Uma Wang; shirt Pal Zileri.
ISMAIL BELGAID model and international judoka for Morocco. Wears t-shirt, shorts, compression top and trousers Louis Vuitton; hat Margaret Howell; jewellery Ismail’s own.
PETER LINDBERGH photographer and director. Says Roversi: “Peter has been asking me forever why all my photos are out of focus”.
FRANCESCO ROVERSI videographer, and son of Paolo, who says of him: “He could be a young Mastroianni in a Fellini film”. Wears coat Isabel Marant.
Opposite page. NOE MARTIN wears trousers Dsquared2.
 KEVIN ROUFF artist of whom says Roversi: “He’s adventurous and shy at the same time”. Wears coat Prada; polo Kiton.
Opposite page. JEAN-HUGUES DE CHATILLON dancer, choreographer and set designer. Wears coat, gilet and trousers Ann Demeulemeester.

Grooming Rimi Ura @ Walter Schupfer Management; Julien d’Ys @ L’Atelier NYC. Hair Yannick d’Is @ Management + Artists. Make-up Adrien Pinault @ Management + Artists.
Set designer Jean-Hugues de Chatillon. Styling assistants Arianna Cavallo, Hisato Tasaka.
FAMILIES
PHOTOGRAPHS BY
ETHAN JAMES GREEN

STYLING BY
MATT HOLMES
Fake credits Bomber jacket: Undercover, Tuxedo shirt: Bottega Veneta
Fake credits Trousers: Giorgio Armani, Shoes: Churchs
Fake credits Bomber jacket: Undercover, Tuxedo shirt: Bottega Veneta
Fake credits Trousers: Giorgio Armani, Shoes: Churchs
Left. Cooper Boone wears coat JW Anderson. Right. Mark Veeder wears coat Pal Zileri; trousers Kiton; boots Giorgio Armani. Twins Cici and Crosby wear stylist’s own clothes.
Opposite page. Left. Mark Veeder wears coat, shirt, trousers, bow-tie and shoes Dolce&Gabbana. Right. Cooper Boone wears coat, shirt, trousers, bow-tie and shoes Dolce&Gabbana.
Twins Cici and Crosby wear stylist’s own clothes. Opening page. From left. Rose Boogie wears coat and belt Louis Vuitton. Lily wears coat Givenchy; hat Early Halloween.
Wanthy wears coat, trousers and shoes Dior Homme. Jomar wears stylist’s own clothes.
Left. Derek Fleming wears coat, shirt, trousers and tie Prada. Right. Sonny Puryear wears coat, jacket, trousers and name tag Prada. Twins Dex and Zane wear their own clothes.
Left. Derek wears shirt and trousers Ermanno Scervino; shoes Pal Zileri. Right. Sonny wears jacket and sweater Giorgio Armani; trousers Loewe. Dex and Zane wear their own clothes.
Max Masure wears jumpsuit Early Halloween; shirt Comme des Garçons Shirt; bracelets Gucci. Josephine wears stylist’s own clothes.
Opposite page. Max Masure wears jacket, trousers, sweater and shoes Marni. Josephine wears stylist’s own clothes.
Dennis Williams wears coat and trousers Gucci. Elan wears stylist’s own clothes.
Opposite page. Dennis Williams wears coat Valentino. Elan wears stylist’s own clothes.

Families: Rose Boogie, Lilly , Wanthy, Jomar; Cooper Boone, Mark Veeder, Cici, Crosby; Derek Fleming, Sonny Puryear, Dex, Zane; Max Masure, Josephine; Dennis Williams, Elan. Hair Tomo Jidai @ Streeters.
Make-up Maud Laceppe, Mandy Smulders @ Streeters. Prop stylist Julia Wagner @ Clm. Stylist assistants Andy Reiff, Rachel Etigson, Fernando Cerezo, Ty Hampton.
 CSIKÓS
OF HUNGARY

PHOTOGRAPHS BY
TOM JOHNSON

STYLING BY
CHARLOTTE COLLET
Coat Calvin Klein 205W39NYC. Jacket Versace; shirt Isabel Marant.
Opening pages. Left. Jumpers Raf Simons. Right. Coat Marni.
Jacket and trousers Dior Homme; shirt Roy Roger’s; boots Dsquared2.
Shirt Isabel Marant; trousers Alexander McQueen; boots Calvin Klein 205W39NYC.
Jacket and belt Saint Laurent by Anthony Vaccarello.
Jacket and trousers Versace; shirt Isabel Marant; belt Saint Laurent by Anthony Vaccarello; boots Salvatore Ferragamo.
Top. From left. Coat Marni. Coat Craig Green. Bottom. From left. Cape Boss. Cape Casely-Hayford. Cape Boss.
Shirt Manuel Ritz; trousers Margaret Howell; boots Hermès.
Opposite page. Left. Jacket and trousers Dior Homme; boots Salvatore Ferragamo. Right. Jacket and trousers Ermenegildo Zegna Couture; boots J.M. Weston.
From top. Shirt and trousers Salvatore Ferragamo;
belt Saint Laurent by Anthony Vaccarello; boots Calvin Klein
205W39NYC. Trousers Ermenegildo Zegna Couture;
belt Dsquared2; boots Hermès.
Opposite page. Jacket and trousers Gucci.
Shirt and boots Dsquared2; trousers Tagliatore.
Shirt Neil Barrett; trousers Lemaire; belt and boots Dsquared2.
Jacket and trousers Paul Smith; underneath shirt Alexander McQueen; boots Dsquared2.
From left. Gilet and trousers Lanvin; boots Dsquared2. Gilet and trousers Tagliatore; boots Hermès. Gilet and trousers Tagliatore; boots Lemaire.

Models: Armand Puszta @ The Diary Management; Kolos Halasz @ The Roster Management; Teri Gaspar. Grooming Chi Wong @ Management + Artists. Styling assistant Pia Abbar.
RICHARD GERE

PHOTOGRAPHS BY
BRIGITTE LACOMBE

STYLING BY
PAUL SINCLAIRE
179
180
 Jacket and shirt Giorgio Armani. Bracelets Richard’s own.
Opposite and opening page. Coat, shirt and tie Giorgio Armani.

181
182
Jacket, shirt and bow-tie Giorgio Armani.

183
In this page and in the following pages. Jacket, trousers, bow-tie and
shirt Giorgio Armani. Bracelets Richard’s own.

Grooming Brigitte for Elemis/René Furterer. Location Milk Studios

New York. Producer Janet Johnson. Styling assistant Walker Hinerman.

184
185
186
At a time when the world is displaying an increasingly unhealthy appetite for the junk food of our culture we like to call ‘reality’, it is a great pleasure to spend a little time in the
presence of a true movie star. At age 69, Richard Gere seems to be very much living the dream. This spring, in the presence of friends, family and a handful of monks, Gere celebrated
his marriage to his (very beautiful) Spanish girlfriend of several years, Alejandra Silva; his son Homer graduated from high school and is headed to the Ivy League for college; and when
I met him in June on the heels of his cover shoot for L’Uomo Vogue, he was about to embark on a new BBC series titled MotherFatherSon, in which he plays an American media
tycoon with some very heavy family stuff to work through. As he worked his way through a salad, Gere, who was dressed in his habitual uniform of jeans and a casual shirt, looked
back on some of the other roles he has taken on over the years – the good, the bad and the badly dressed alike – and talked about how he deals with reality. As a practicing Buddhist
in the age of Trump, he acknowledges that he is challenged on a daily basis. As unglamorous as the times may be, Gere gives us hope that men of style, grace and substance will always
rise to the occasion. Indeed, nearly 40 years after he first strutted onto the big screen as a high-priced male escort in American Gigolo, Gere still looks like a million bucks in Armani.

INTERVIEW BY ALIX BROWNE

Why you should not confuse Richard Gere with Julian
Kaye, the clothes – and car–obsessed male escort he
played in American Gigolo (even if it’s tempting
after all these years).
It was just a character to me. It’s still just a character to
me. I had never heard of Giorgio Armani. I had never
heard of anybody. It wasn’t any interest of mine. I
remember when we made that film, Paul Schrader was
talking about this neo-Beau Brummellism. I had no
idea what he was talking about. I’m a jeans and T-shirt
guy. I didn’t even know how to do a tie at that point.
But Paul kind of hit it. He brought in Ferdinando
Scarfiotti as the production designer on the film, and
it was Nando who really oversaw everything visual. I
think it was Nando who brought in Armani. Nando
was an extraordinary guy – he worked with Visconti,
Bertolucci – so he understood Italian style, and un-
derstood the forefront of this style thing whatever it
was. Certainly I didn’t know anything about it. When
Giorgio had his museum show, of course they played
that scene from Gigolo with the shirts and ties and
me singing the Smokey Robinson song, The Love I
Saw in You Was Just a Mirage. It’s completely iconic – it
makes me laugh! But Schrader had some sense about
this – that clothes were going to mean something.
Then there was the time Gere had a more hands-on
role in his film wardrobe.
I did this film Breathless and a week before we started
shooting I still didn’t have a costume. I couldn’t find
anything I liked. And I don’t know if this is apocry-
phal or not, but I had an idea. I said, “My father is
a golfer. Put together this kind of tux shirt this guy
wears with a pair of golf pants. It’s so bizarre but it’s
kind of got a thing.” So we found these plaid pants
and it just worked with that character. All of a sudden
he made sense to me. It was a little wacky but it made
sense with his mind and his heart.
But vanity doesn’t really have a place in the movies.
Like most people, I react badly to humiliation, to re-
jection. Norman was a character who was able to ab-
sorb punches. They left no residue on him. I worked
for several months with the director Joseph Cedar
on this character. I kept saying these slights, these
humiliations must be doing something. But I began
to feel how Norman was able to absorb everything.
It’s a genetic thing and in this case a very Jewish thing.
It’s 2,000 years of I’m not punching back. And I had
to find that. I had to find that for myself.
In his daily life, Gere, a practicing Buddhist, still has
to train hard to learn not to punch back.
We are not very smart emotionally. So we usually end
up creating more confusion and more suffering for
ourselves and everybody else around us. But if you
look at people’s immediate motivation, it’s to become
happy, to avoid suffering. Moving toward happiness and
away from suffering. But because we don’t see things
multi-dimensionally, usually we just create more of a
mess. This is not our natural state. It’s just our habit-
ual state. So you create new habits. It’s like playing a
musical instrument. Little by little you get better and
then it becomes spontaneous and then it goes by itself.
A certain politician has been making that task partic-
ularly challenging for Gere – and a lot of other people.
I don’t think there’s anyone in this country, or in the
news cycle world who isn’t challenged almost every
moment by this president. We’re stuck. We’re stuck
with him. But that’s the thing about habituation or
becoming comfortable with negative states – we can’t
get comfortable with a guy like this. He’s a fact, right
now. And it’s an interesting bouillabaisse of emotion
that he elicits in most of us – even his supporters.
That feeling that he’s speaking for us. He’s touching
some sort of negative space in them. So if we are all
vigilant in watching what’s happening we can come
out of this period ahead of the game. I’m a Buddhist,
I’m a vegetarian, I can’t kill a mosquito. How can you
get a deeper sense of patience unless your patience is
being tried? So there is value, even with the bad guys.
Perhaps Trump would benefit from some quality time
with the Dalai Lama.
The BBC series I’m about to shoot is called Moth-
erFatherSon, so the biggest thing is these familial re-
lationships. Certainly my character is a world player
in politics and media, kind of a Citizen Kane – self-
made, damaged, a very brutal father, but with some
sense of his own destiny. At the same time he’s used
to a dirty game. That’s his job in the world, to play
a very dirty game. But the story is as much about
a family dynamic as it is about media and politics.
What drives people is often very personal. Look at
Trump. Can you imagine what kind of father he
had? Or mother? Here is a man who has no emo-
tional intelligence whatsoever. A complete, one hun-
dred percent narcissist. What conditions made that?
Sometimes it’s better not to examine your motiva-
tions too closely.
My character in MotherFatherSon will use any tool
that’s required. He’s not completely knowable in
terms of what his motivation is, and I want to keep
it that way. Certainly he is a merchant but he has a
sense too that he has his finger on the pulse of what
people are actually thinking and feeling. I think his
motivations are complex. They’re good and they’re
not so good. They’re self-serving. They’re generous.
They’re visionary. The immediate is dark and kind
of dangerous, but maybe in the end it’s what has to
be done to get to the next place. I can still see the
good in him. No one thinks they’re a villain.
But Gere is going to end on a positive note, because,
well, that’s just the kind of guy he is.
All of us are basically good. We’re covered with a lot
of dirt and grime and darkness, pain and suffering,
memories. But not too far below the surface you
find someone who just wants to be loved and be
around kind, generous people. If you walk into a
room and people turn and smile, or if you walk into
a room and people scowl and turn away, you have
a radically different feeling. Where do you want to
be? Everyone wants to be loved. With all of our
private demons.

187
 A PICTURE
OF THE
CÔTE D’AZUR

PHOTOGRAPHS BY

BENJAMIN ALEXANDER
HUSEBY
TEXT BY

THOMAS PERSSON

Near the Italian border, on the easterly end of the French

Riviera, three peninsulas shimmer like a piece of old jewellery.
A ribbon of land shaped like a necklace is set with three rocks
plunging into the Mediterranean sea: Saint-Jean-Cap-Ferrat in
the west, Roquebrune-Cap-Martin in the east and Cap-d’Ail
in the middle, a peninsula so small it’s usually snubbed off the
map, outshined by its showy neighbour Monaco.
Every summer I return to Cap-d’Ail, to a Belle Époque hotel
where my family has had an apartment since 1920. Here, in
rooms that have not changed much since then, the artistic f lair
of my great grandmother is ever present. Her paintings of our
palm tree garden fenced by a big Art Nouveau gate, the lush
bougainvillea spilling over a broken marble staircase and her
young, beautiful daughters lounging among crooked pine trees
down by the sea are reminders of the delight she found in being
creative here.
The French R iviera has been an inspiration for ar tists
and a playground for the rich ever since the railways made it
accessible, allowing European aristocracy, industrialists and a
cosmopolitan clientele to take in the pleasant climate during
the winter season, often for health reasons. Much has changed
since then but its pièce de résistance remains the same: the warm
weather, the magical light and the ancient scenery of forested
mountains chiselling into the sea. It has captured the creative
mind for centuries, giving the Riviera a unique artistic heritage.
Writing in situ, here are three narratives from these peninsulas
where love and friendship, feuds and resolutions are forever
entwined with the act of creation on the Côte d’Azur.
SAINT-JEAN-CAP-FERRAT Jean Cocteau learned from
Matisse that “once you paint one wall, the other three look bare.” In
1950 he took that notion to a baroque level by decorating the entire
interior of a charming villa called Santo Sospir with views across the
Baie des Anges. Cap-Ferrat had once been known as Cap-Saint-So-
spir after a 6th century monk (hence its name) and the villa belonged
to the wealthy Francine Weisweiller, an important early patron
of Yves Saint Laurent, client of Christian Dior and Balenciaga and
friend of Coco Chanel.
Weisweiller had befriended Cocteau in 1949 during the making
of his film Les Enfants Terribles, which was partly shot in her Paris
home. It was love at first sight, a coup de foudre friendship. When the
film was finished Weisweiller invited Cocteau to spend a week of rest
at her villa. He stayed for 11 years.
It was a bohemian arrangement, with four generations under one
roof: Cocteau, the world-famous artist in residence who was in his
60’s; Francine, the beautiful socialite and his admiring friend and
patron in her 30’s; Cocteau’s companion and adopted son Édouard
Dermit (known as Doudou) in his 20’s, and Carol, the daughter of
Francine, who was seven when Cocteau moved in. The only one
missing was Francine’s husband, the American millionaire Alec
Weisweiller, who came for short visits, spending most of his time
with his mistress, the actress Simone Simon, in Paris.
Cocteau found the silence of the stark white walls in the house
too severe to live with and for the next six months he painted (or
tattooed, as he called it) the entire house, leaving few surfaces un-
touched. The rugged coastline of Cap-Ferrat reminded Cocteau of
Greece and most of his frescoes are inspired by Greek mythology in
dialogue with nautical subjects: fish, sea urchins, nymphs and mus-
cular fishermen. The central figure is over the mantelpiece in the liv-
ing room: the face of Apollo – god of music, healing, poetry, sun and
light.
In Cocteau’s film Le Testament d’Orphée from 1960, which is partly
filmed at Villa Santo Sospir, Weisweiller plays a cameo part, dressed in
a second empire Balenciaga dress. It was the last artistic endeavour of
their friendship. At 45, Weisweiller had found a lover, the writer Hen-
ri Viard. The relationship didn’t agree with Cocteau and he packed
his suitcase and left for good. They only saw each other one more
time, on Cocteau’s deathbed in Milly-la-Fôret in October 1963.
Shirt Corneliani; trousers Hermès; shoes Church’s. In these pages. Villa Santo Sospir, all drawings ©Jean Cocteau.
Jacket, sweater and trousers Ermenegildo Zegna. In these pages. Villa Santo Sospir, textile and drawings ©Jean Cocteau.
Villa E-1027. Peinture de l’entrée, ©Le Corbusier. Interiors, © Eileen Gray.
ROQUE B RUN E - CA P - M A RTIN “It is there we must
go to breathe, to dream, and to prolong the hours in an infinity of
sensations.” The words from Charles Baudelaire’s Invitation au
voyage are stencilled on a wall inside the iconic seaside house
Eileen Gray designed and built in the late 1920s. An Irish-born,
Paris based architect and furniture designer, Gray had been
looking for a plot to build a small holiday refuge for herself
and her younger lover, the Romanian architect and editor
Jean Badovici, and found it on a slope beneath the Cabbé train
station and above Plage du Buse. It was Gray’s f irst architectural
project and what she created over three hard-working years
(with some assistance from Badovici) is considered a masterpiece
of modernist architecture. She called the villa E 1027, a code
for their romance: E for Eileen, 10 for the letter J(ean) the 10th
letter of the alphabet, 2 for B(adovici), 7 for G(ray).
Seen from the sea the E 1027 gives the impression of the
house as a ship, docked on a cliff. Entering from the back, next
to the small kitchen, the house is not built to impress but to be
discovered step by step, like a story for the senses. The open
living room space is modulated by screens walls, one of Gray’s
many Japanese inf luences, and ever y detail of the interior is
carefully considered (where the light enters the rooms and how
the sea breeze f lows through them) to give its dwellers the most
enjoyable experience. Ever ything can be turned around and
moved according to their needs. For Badovici, for instance, she
invented a mirror with an articulated arm so he could see the
back of his head while shaving his nape in the morning.
Gray spent only a few summers at E 1027 before her romance
ended. She never returned to her maison du bord de mer. She had
built it as a gift to her lover, with whom she stayed friendly.
Years later, in 1938, Badovici invited his fr iend, the Swiss
architect Le Corbusier to come and stay. Le Corbusier loved
the Mediterranean with a passion and it has been said that he
was envious that a woman had designed a house following many
of his architectural principals, on a site more beautiful than any
of his own projects. There are pictures of Le Corbusier stripped
naked while painting large murals on the walls of E 1027, eight
paintings in total. He considered it a gift to the house while
Gray found it to be an act of vandalism. When she told Badovici
he asked Le Corbusier to remove his murals. He refused and
was no longer welcome.
After Badovici’s death the house passed through two owners:
the last was murdered on the living room f loor. Then it was
squatted, suffering years of sabotage and decay. Le Corbusier’s
murals sur vived, however, and played an important part in
rescuing the house from complete destruction. Eileen Gray’s
vision had become a Le Corbusier site.
To the dismay of many Eileen Gray af icionados Le Corbusier
built two buildings just above the E 1027: Le Cabanon – a simple
wood cabin only three by three meters – where Le Corbusier
resided, adjoining a little restaurant called Étoile de Mer where
he had his meals. Later, he erected a camping unit with five small
bedrooms for guests of the restaurant, and placed a prefabricated
working hut on the site.
“The Mediterranean is the queen of form and light,” wrote
Le Corbusier. “In every respect I feel Mediterranean. How I
relax, where I get inspiration from, it’s all down to the sea I’ve
always loved.”
It is telling that the titan of 20th century architecture chose
such modest accommodation for himself, returning year after
year to his little cabin, never happier than when he could remove
his bow-tie and double breasted suit and be half naked in the
f lickering shade of a tree. “I feel so good. I’m sure I will end
my days here,” he wrote. And so he did. On August 27th 1965
he dived into the sea and suffered a heart attack, drowning off
the rocks just below Gray’s house.
Polo Corneliani; trousers GmbH.

Model: Rishi Sebastiampillai Robin.
Photographer’s Assistant: James Donovan.
Production: Ciara Smith and Claire Green.
Special thanks to Leslie Monnier.
CAP-D’AIL It’s early morning and the green, amphitheatre-
like hillside is bathing in the golden sunlight. Down by the
sea, at the Plage Mala, some boys have arrived on a small boat
to unload crates of rosé, champagne and fresh f ish to the two
beach restaurants, Eden and La Réserve. From here a pathway
stretches along the coast all the way to Monaco. Popular among
joggers, this rocky stretch of land is garlanded with south-facing
villas. The Lumière brothers who invented the f ilm built houses
here. Sacha Guitry, the French actor, director and playwright,
enjoyed views of the horizon from his villa Les Funambules just
above the tiny beach La Pinède.
The most secluded estate is called The Rock. Situated alone
on a cliff, it once belonged to Prince Jean Louis Faucigny-
Lucinge. It is here the Swedish f ilm star Greta Garbo used to
stay incognito in the 1950s.
A little further along the coastal path towards Monaco sits
La Capponcina, the old holiday house of Lord Beaverbrook, the
Canadian-British newspaper tycoon and Winston Churchill’s
long-time friend and political ally. Churchill was a regular guest
at La Capponcina, f inding it a relaxing retreat and a perfect spot
for his hobby. He had started painting at the age of 40 at a low-
point in his political career following the Dardanelles debacle
for which he was blamed.
Painting helped Churchill overcome a period of severe
depression. “It came to my rescue in a most trying time,” he
recalled. “I had long hours of unwonted leisure, in which to
contemplate the frightful unfolding of war; and then the Muse of
Painting came to me and said, ‘Are these toys any good to you?’.”
He was encouraged to paint by Lady Lavery, wife of artist
Sir John Lavery, an associate of the Glasgow School of painters,
whose own paintings from Cap-d’Ail depict members of high
society lounging at the Eden Grand Hotel. Churchill, on the
other hand, was not drawn to this but to the ancient quality of
the landscape. Over a period of 48 years his creativity produced
more than 500 paintings, several of which were made in Cap
d’Ail. He took to sitting in the garden of his friend’s villa for
long hours in the afternoon, or painting perched on the nearby
cliffs. Today Cap-d’Ail’s best little restaurant Le Cabanon is
situated where Churchill also sometimes used to sit by his easel,
pencil in hand.
His sceneries are still here, unchanged by time.
Shirt and trousers Giorgio Armani.
 MADE IN ITALY

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 Winter’s Best

Mountain vs. City

OBJECTS Accessories:
Backpacks, Suitcases, Goggles,
Sunglasses,Techno Watches,
Elegant Watches
Page 200 — 207

Garments:
Puffer Jackets, Montgomery,
Sport Jackets, Sheepskin Coats,
Mountain Knitwear,
Classic Knitwear, Check Shirts,
Contemporary Shirts,
Sport Trousers, Denim
Page 208 — 219

Shoes:
Boots, Sneakers, Army, Evening
Page 220 — 225

Motley:
Equipment, Creams, Perfumes
Page 226 — 231

199
 ACCESSORIES
Backpacks, Suitcases, Goggles, Sunglasses,
Techno Watches, Elegant Watches

STILL LIFE PHOTOGRAPHS BY ANDERS KYLBERG

EDIT BY ANDREA TENERANI

Fashion Contributor Edoardo Caniglia

Beauty Editor Susanna Macchia
Set Design Emilie Florin
200
Product photographs by Curti Parini
 GUCCI
Multicolor floral print briefcase
201
price upon request
O B J E C T S BACK PACKS L' U O M O NO. 002

ADIDAS ORIGINALS BOSS

“Atric” backpack Nylon backpack
€ 249 €750

GIVENCHY LOUIS VUITTON

Canvas and leather backpack “Monogram Titanium” backpack and keychain; fluo keychain
price upon request €2.460; €225; €275

DSQUARED2 ERMENEGILDO ZEGNA

Leather, cotton and nylon backpack Nylon and leather backpack
€ 1.100 € 1.100

With the exception of Boss’s fashion-ised sailor-style duffle bag – best worn off-
one-shoulder when on the town – all of these bags are designed to be seen from
behind. That makes the backpack a singular item in the menswear category:
for unless taken off it is a piece there to be seen rather than to see: all the wearer
appreciates is its weight on his shouldlers. There are plenty of positive arguments
for the backpack: chief amongst them that it keeps your back straight and (vitally)
your hands free. The only person it inconveniences is whoever is unlucky to stand
behind you at rush hour. The backpacks presented here all represent excellent
options for the posture-conscious man looking to equip himself for the city – or
even an expedition to further afield.

202
O B J ECTS SU ITCASES L' U O M O NO. 002

OFF-WHITE X RIMOWA GOYARD

Trolley “Bourget” trolley
€ 850 € 5.510

TUMI SAMSONITE
Aluminium trolley “Pixel” texture suitcase
€ 645 € 279

RIMOWA FABBRICA PELLETTERIE MILANO

Aluminium trolley Aluminium suitcase
€ 780 € 1.190

Let’s roll. Four-wheeled hard-shell suitcases are the ultimate convenience in
modern luggage. The toughest of them can even be sat on then used as transport
in the airport. Everyone needs one. But what does your suitcase say about you?
Are you a luxury classicist à la Goyard? Are you a retro-aluminium head who
appreciates the metallic sheen of Fabbrica Pelletteria Milano’s excellent example,
or will you sully the shiny perfection of your Off-White x Rimowa example by
slapping a Supreme sticker on it? Tumi offers you more modernist, less obvious
option, and Samsonite represents a more neutral retro iteration. You’ll have time
to consider your choice while waiting for yours at the carousel, and praying the
luggage guys haven’t beaten the crap out it.

203
OBJECTS SKI GOGGLES L' U O M O NO. 002

DSQUARED2 SMITH
Ski goggles “I/OX” goggles
€ 255 € 210

SMITH ALPINA
“I/O Mag” goggles “Scarabeo” goggles
€ 240 € 99

OAKLEY BRIKO
“Wind Jacket 2.0” goggles “Nyira Free Fighter” goggles
€ 142 € 104

Only very very rarely do ski or snowboard goggles make it down from the
mountain and into street-level usage. Really, if ski goggles were ever going to
take off it would have been in 1997 – but even the recently-departed Notorious
B.I.G. (RIP) and Puff Daddy’s compelling donning of them in the video for Mo
Money Mo Problems couldn’t make goggles break the big time. That means a pair of
goggles - or technical shades, or sherpas if you opt for the Oakleys or Smiths here -
should be reserved strictly for the piste. So when making the decision, think about
how they look second and how they fit and feel first. Does the lens filter suit your
outlook? Is the headstrap comfortable? Adopt this functional approach to finding
your new-season set of goggles, then go enjoy the snow.

204
OBJECTS SUNGL ASSES L' U O M O NO. 002

DIOR HOMME DOLCE&GABBANA EYEWEAR

Metal frame sunglasses Metal frame sunglasses
€ 390 € 335

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€ 235 € 237

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Gold plated sunglasses Steel frame sunglasses
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SATURNINO EYEWEAR TOM FORD EYEWEAR

“Republic 2” gold frame sunglasses Metal frame sunglasses
€ 229 € 290

Selecting the right pair of sunglasses demands consideration. First and foremost,
do they fit your face? There’s no point picking a pair that looks great on the shelf
if their arms have to stretch beyond 90 degrees to fit over your ears. Working out
what lens shape to opt for depends on your own face’s shape. So try, try and try
again until you find a shape that complements yours. Frame material and colour
is much more subjective - as is brand. There is something to be said for specialist
eyewear brands such as Linda Farrow and Laps Collection by Italia Independent.
But a pair of designer frames is a straightforwardly entry-level tactic for displaying
your brand affiliation of choice. Just make sure they fit your face - otherwise even
the coolest pair of high-design shades won’t save you from looking like a dork.

205
O B J EC TS T ECH N O WATCH ES L' U O M O NO. 002

AUDEMARS PIGUET RICHARD MILLE

“Royal Oak Offshore” stainless steel watch “RM 39-01 Aviation” titanium watch
€ 32.000 €152.000

HUBLOT BELL & ROSS

“Big Bang” satin-finished stainless steel watch “BR 03-94 Horolum” microblasted steel watch
€ 12.400 € 4.990

With their bold cases, attention-seeking details, a touch of colour and increasingly
sophisticated functions, some chronographs are defying the prevailing, and slightly
repetitive, vintage trend to take on new technological and aesthetic challenges.
For the 25th anniversary of the Royal Oak Offshore, Audemars Piguet has issued
a daring version with a camouflage strap, proving that an iconic object doesn’t
necessarily have to be classical. There are also plenty of timepieces with specialist
functions, such the “RM 39-01 Aviation” by Richard Mille. This flyback chrono-
graph was designed as a flight navigation instrument, with a hand showing coor-
dinated universal time (UTC), or rather the time standard used to calculate all the
time zones around the world. (Micol Bozino Resmini)

206
O B J EC TS EL EGA N T WATCH ES L' U O M O NO. 002

CHANEL HORLOGERIE BREGUET

“Monsieur de Chanel” white gold watch “Classique 7147” white gold watch
€ 33.000 € 21.300

BULGARI IWC SCHAFFHAUSEN

“Octo Finissimo” satin-finished stainless steel watch “Portugieser Chronograph Edition 150 years” stainless steel watch
€ 12.900 € 8.000

In the realm of traditional-appearing dress watches, the race continues to conceive
increasingly slender models. Bulgari stands out as one of the most creative
brands with its Octo Finissimo. An ultrathin automatic watch, its octagonal case
measuring just 2.23 mm thick was inspired by the Basilica of Maxentius in Rome.
The allure of extra-thin timepieces has also seduced Breguet, whose Classique
7147 model has a 2.4-mm-thick case with a transparent sapphire-crystal caseback
and features a dial in Grand Feu enamel. The Monsieur de Chanel is another
watch that conceals its complex mechanisms behind a linear design. It is Chanel’s
first watch to be fitted with an in-house movement, which took five years to
develop and is covered by two patents. (M.B.R.)

207
 GARMENTS
Puffer Jackets, Montgomery, Sport Jackets, Sheepskin Coats,
Mountain Knitwear, Classic Knitwear, Check Shirts,
Contemporary Shirts, Sport Trousers, Denim

208
LOUIS VUITTON
Jacquard printed jacket
209
price upon request
OBJECTS PUFFER JACKETS L' U O M O NO. 002

ASPESI ALLEGRI BOSS

Puffer jacket Nylon puffer jacket Wool and cashmere puffer jacket
€ 1.010 € 756 € 1.895

HERNO STONE ISLAND 2 MONCLER 1952

Nylon puffer jacket “Lino Resinato Down-TC” puffer jacket Nylon puffer jacket
€ 640 € 900 € 1.550

PEUTEREY HEVŌ DUNHILL

Technical cotton twill puffer jacket Nylon puffer jacket Leather puffer jacket
€ 649 € 599 € 4.995

Depending on who you ask, the down jacket originated in Canada and was
imported to Europe by the French mountaineer Lionel Terray in the 1950s,
when he told his friend René Ramillon about the ultra-warm, ultra-light piece
of feather-filled outerwear. Ramillon had recently founded a tent and sleeping
bag manufacturer named Moncler: he decided to make jackets too. In 2018,
the down jacket has conquered every range of  masculine taste. Moncler, that
original pioneer more recently reinvented as a high watermark of fashion,
remains at the vanguard of puffer innovation – however today there are plenty
of other adventurous designers striving to take this uniquely functional winter
style to fresh creative heights.

210
O B J ECTS MO NTG OM ERY L' U O M O NO. 002

AMI DONDUP KENZO

Virgin wool montgomery Wool montgomery Blended wool montgomery
€ 860 € 825 € 810

VALENTINO LOEWE MAISON MARGIELA

Wool montgomery Shearling montgomery Rubber and wool montgomery
price upon request € 3.900 price upon request

MICHAEL KORS JW ANDERSON KOLOR

Wool montgomery Virgin wool montgomery Wool and nylon montgomery
€ 855 € 1.290 € 1.372

Italians call this style the Montgomery after the British General who helped
popularise them. The English call it the Duffle coat – probably a bastardised
spelling of ‘Duffel’, the Belgian source of the heavy wool used in many early
versions. Its origins are obscure, but it found popularity in the early 20th
Century as a deck coat for navy sailors who required something warm and easy
to button up in the cold. When thousands of British military versions flooded
the surplus market after the Korean war, they became popular with students,
existentialists and every wannabe beatnik on a budget – and entered the
pantheon of masculine outerwear. Today, the Montgomery remains undefeated,
a style that rises again and again on the runways.

211
OBJECTS SPORT JACKETS L' U O M O NO. 002

COLMAR SPACE RACE COLUMBIA SPORTSWEAR EA7 EMPORIO ARMANI

Thermowelded jacket Waterproof jacket Technical fabric padded jacket
€ 595 € 140 € 370

LANVIN PRADA LINEA ROSSA CP COMPANY

Printed cotton jacket Professional technical fabric jacket “50 Fili” rubber fabric jacket
€ 2.995 price upon request € 950

BALENCIAGA LA MARTINA SACAI

Sleeveless sport jacket Nylon jacket Faux fur and nylon jacket
price upon request € 539 € 400

The expression of functionality has become an aesthetic genre all of its own.
Nowhere in menswear is this more apparent than in the category of Technical
Jackets. Look at the examples on this page by Lanvin’s Lucas Ossendrijver
or Sacai’s Chitose Abe: they are both highly creative reconceptions of a totally
technical and utterly unfashion template established by purely outdoors companies
such as Colmar or Paul Lamfrom’s Columbia. Here Miuccia Prada, a pioneer of
the aesthetic-functional, takes the Linea Rossa back on track, while CP Company
experiments with rubber fabric. A good technical jacket should be lightweight,
should insulate, and should protect. When treated with the Thininsulate of
fashionable self-awareness, it will also keep you looking cool.

212
O B J EC TS SH EEPSK I N COAT L' U O M O NO. 002

BAND OF OUTSIDERS BERLUTI BOTTEGA VENETA

Hooded aviator sheepskin coat Leather flight sheepskin coat Lambskin sheepskin coat
€ 1.995 € 6.500 € 5.500

BRUNELLO CUCINELLI MACKAGE MICHAEL KORS

Aviator sheepskin coat Aviator sheepskin coat Sheepskin coat
€ 5.550 € 2.750 € 1.715

N°21 W.E. 1930 FENDI

Checked sheepskin coat Vintage effect leather sheepskin coat Leather sheepskin coat
€ 590 € 1.800 price upon request

This season’s most consistent style of sheepskin jacket is a gentle hybrid: mostly
World War II aviator jacket, with a sometimes-twist of Sherpa. The result
is a non-literal piece of analogue luxury. Just as it was when tailoring was the
dominant urban menswear code, now that sportswear and synthetics reign
supreme wearing sheepskin in the city remains a shortcut to ruggedness.
Sure, there are easier options to wear out there and these jackets do demand
a degree of dedication and care from the wearer. Yet despite their weight and
relative delicacy – avoid grease at all costs, and ideally rain too – a finely crafted
shearling can generate a warmth unlike and emanate a sense of strenght that is
unmatched any other piece of outerwear.

213
O B J E C TS M O U N TA I N K N I T WE A R L' U O M O NO. 002

BRUNELLO CUCINELLI DIOR HOMME GUCCI

Alpaca, wool, cashmere and silk sweater Wool and cotton turtleneck Wool sweater
€ 1.040 price upon request price upon request

HERMÈS SAINT LAURENT ACNE STUDIOS

Wool and cashmere sweater BY ANTHONY VACCARELLO Wool sweater
price upon request Wool sweater € 390
price upon request

DRIES VAN NOTEN KENT & CURWEN PRINGLE OF SCOTLAND

Merino wool and nylon sweater Wool sweater Lambswool sweater
€ 447 € 360 € 305

Knitwear is a language patterned with many dialects sourced from rugged
locales. Argyle is derived from the famous family tartans of the Scottish clans.
Fair Isle developed in sea-bound isolation to become a richly evocative creative
hieroglyph. Aran is a jumble of fishermen’s wives tales (derived from Guernsey).
Today the precise meanings within this evocatively knotty collection of intarsia
communiqués is rarely deciphered - these patterns have endured beyond their
original usage. Yet designers of menswear continue to whisper this decorative
equivalent of Latin because of the beautiful visual syllables they produce. Enjoy
the way the patterns play on your eyes and savour the craft and precision that
goes into applying them.

214
OBJECTS CLASSIC KNITWEAR L' U O M O NO. 002

PAUL SMITH PAL ZILERI LES HOMMES

Wool sweater Alpaca, camelhair and wool sweater Knitted sweater
€ 472 € 395 € 1.009

WOOLRICH BLAUER BUGATTI

Wool turtleneck Wool turtleneck Wool and cotton turtleneck
€ 290 € 198 € 135

BOGGI MISSONI LARDINI

Cashmere and wool turtleneck Wool turtleneck Bicolor wool turtleneck
€ 179 € 910 € 210

Whether fine-gauge or heavy, a sleek piece of luxury knitwear makes for an
excellent addition to the urban masculine wardrobe. A lattice, rib or bobble stitch
can add texture to the overall look, while a higher neckline will add definition
to the wearer’s jawline. Wearable under both formal and informal outerwear, a
fine wool, cashmere or vicuna sweater is an eminently versatile garment. The only
challenge with beautiful pieces of knitwear such as those shown here is that they
demand a degree of care to stay beautiful. Wash them cold, dry them flat, wrap
them safe from moths when not in use, and shave off any pilling from time to time.
A hassle? Well, you get out what you put in: if looked after properly, any of these
knits will provide sophisticated winter satisfaction for years to come.

215
OBJECTS CHECK SHIRTS L' U O M O NO. 002

BROOKS BROTHERS N°21 GUCCI

Checked shirt Checked shirt with white piping Checked shirt with embroidery detail
€ 115 € 240 price upon request

VERSACE OFF-WHITE c/o VIRGIL ABLOH DSQUARED2

Lined checked shirt Check twisted shirt Checked shirt with embroidery details
price upon request € 631 € 760

PALM ANGELS ALESSANDRO GHERARDI SANDRO

Wool checked shirt Flanella checked shirt Check printed shirt
€ 756 € 160 € 140

From cowboys to hipsters via woodsmen and grifters, the check flannel shirt has
become a garment that emanates capably robust masculinity. With the exception
of the house-mesmerising patchwork of our Versace example - a piece that is about
the heritage of the company it hails from - every shirt on this page is a delicately
articulated version of a much loved classic. Gucci lengthens its version, DSquared2
presents its with a heavy dose of irony, while Palm Angels and Off-White use
patch and twist to refigure a staple. Less enunciated in their newness are the
luxurious versions presented by Alessandro Gherardi, N° 21, Sandro and Brooks
Brothers. In a technologically driven, office-bound world the check shirt reminds
us of times when physical activity wasn’t for fun, but for survival.

216
OBJECTS CONTEMPORARY SHIRTS L' U O M O NO. 002

EMMA WILLIS DIOR HOMME GUCCI

Cotton shirt Cotton shirt with embroidery detail Cotton striped shirt
€ 226 price upon request price upon request

CORNELIANI KITON MARNI

Cotton shirt Cotton shirt Printed cotton shirt
€ 160 € 960 € 420

ERMENEGILDO ZEGNA COUTURE LANVIN MSGM

Cotton shirt Cotton shirt Cotton shirt
€ 550 € 425 € 230

Light cotton shirting remains a staple work garment for millions of men –
defining the classes of work by the colour of their collar still has relevance –
yet it is nonetheless a category vulnerable to the declassification of masculine
dress that has so affected the suit. Ironically, the arena in which the shirt has
blossomed most in recent years is womenswear: as designers here look to explore
gender imbalance. These menswear examples are divided into boardroom-
ready, stone-cold classics (Kiton, Lanvin, Emma Willis, Gucci and Corneliani)
and those that attempt to stretch the template: an Ermenegildo Zegna Couture
unusual colour and shape, an MSGM graphic, a Marni illustration and a Dior
Homme delicate embroidery.

217
OBJECTS SPORT TROUSERS L' U O M O NO. 002

PRADA LINEA ROSSA Z ZEGNA HAGLOFS

Active nylon trousers Lined nylon trousers Technical fabric trekking trousers
price upon request price upon request € 180

PEAK PERFORMANCE DSQUARED2 NORRONA

Technical fabric trousers Camouflage print trousers with nylon pockets Gore-Tex trousers
€ 500 € 621 € 499

EA7 EMPORIO ARMANI CP COMPANY DIRK BIKKEMBERGS

Technical fabric ski trousers Nycra fabric trousers Wool trousers
€ 350 € 297 price upon request

The pockets that patch many of these new-season trousers as forms of decoration
are the distant descendants of the roomy ‘cargo’ pockets first applied to British
military battledress. Designed to carry medical equipment and maps they
were purely pragmatic additions to the pant that proved so useful they were
adopted by the designers of workwear and sportswear too. Prada’s black nylon
is a material totally synonymous with fashion’s assimilation of the informal and
functional, while DSquared2 camouflage is an effectively attractive way to turn
a military motif into a peacefully pleasing aesthetic detail. Dirk Bikkembergs
new-season designs are original displays of the pocket as decorative detail. Leg-
luggage never looked so good.

218
OBJECTS DENIM L' U O M O NO. 002

ALBERTO GIVENCHY BOTTEGA VENETA

Denim trousers Denim trousers Denim trousers
€ 99 price upon request € 490

ACNE STUDIOS BLÅ KONST PT PANTALONI TORINO CALVIN KLEIN JEANS

Denim trousers with painting print Denim trousers Patched denim trousers
€ 300 € 250 € 129

BERWICH DOLCE&GABBANA ROY ROGER’S

Japanese denim trousers Denim trousers with embroidery details Denim trousers
€ 205 price upon request € 285

There is no greater example of a garment built for country work achieving mass
ubiquity in the city than denim jeans. They’ve travelled from the Klondike to
conquer nearly every dress code in existence, and for their producers represent a gold
rush far more reliable that the fleeting example that first helped to popularise them.
Today, jeans are a myriad - as these excellent new season examples show. Check the
painstaking disarray of Dolce & Gabbana’s ripped patchwork, or the ironic interplay
of patches in Calvin Klein Jeans. Givenchy and Alberto strive for a Vetruvian ideal
of the jean, while PT Pantaloni Torino aims for the same via a more tailored cut.
Bottega Veneta plays with radical wash and Roy Roger’s rides a route defined by
slimfit and gentle distress. Berwich, meanwhile, takes us right back to the start.

219
 SHOES
Boots, Sneakers, Army, Evening

220
 SOREL
“Caribou” boots
221€ 169
O B J EC TS BO OTS L' U O M O NO. 002

MERRELL MAMMUT
Trekking boots Trekking boots
€ 109 € 389

THE NORTH FACE WOOLRICH

Trekking boots “Fisher” boots
€ 150 € 350

ROSSIGNOL SCARPA
Waterproof leather boots Trekking boots
€ 449 € 249

Today’s top-of-the-range mountain boots are high-profile, lightweight wonders.
They support the ankle, provide grip and traction, keep the feet warm and dry, yet
allow them to breathe. The moulded soles and articulated uppers of these designs
– all conceived for serious hiking and climbing expeditions – have been created to
function rather than to flatter. Yet as the shape of some of the sneakers across this
page hints, there is a contemporary intersection between the technical fearsomeness
of these boots and the almost baroque clumsiness of what’s cool in mens shoe shapes
now. Wear a pair of these bad boys this winter and you’ll be nodding to the oversized
fugly trend that’s been on the rise for the last year or so, while doing your feet a
favour too: these boots represent perfect new-season shoe authenticity.

222
OBJECTS SNEAKERS L' U O M O NO. 002

COMMON PROJECTS GUCCI

“Original Achilles Low” leather sneakers Leather sneakers
€ 355 price upon request

KOLOR MAISON MARGIELA

Leather and rubber sneakers “Sms” sneakers
€ 826 € 650

SAINT LAURENT BY ANTHONY VACCARELLO CONVERSE X JW ANDERSON

Leather sneakers “Chuck Taylor” shoes
price upon request € 150

To say that sneakers are cool in the city is to state the obvious. What’s less apparent
is precisely which sneakers are cool, and why. The Nike Air Max 95 is for sure
2018’s key revival sneaker, a minor masterpiece of shoe design that merits its
moment in the sun until it is supplanted by whichever style rises next year. J.W.
Anderson’s sunny collaboration with Converse is just the latest example of the
Chuck Taylor All-Star’s infinite versatility. Saint Laurent by Anthony Vaccarello,
Gucci, Kolor and Maison Margiela present fresh fashion iterations of the dad/fugly
- but will they be as remembered 30 years hence as the Air Max 95 is now? Adidas’s
delicately-moulded low-profile Sobakov, meanwhile, looks like an appealing
contender for a new-season sneaker that feels freshly forward-facing.

223
OBJECTS AR MY L' U O M O NO. 002

NEIL BARRETT LOUIS VUITTON

Leather boots “LV Outland” boots
€ 515 € 1.490

MARNI CAR SHOE

Leather boots Leather boots
€ 650 € 490

VERSACE JIMMY CHOO

Leather boots “Baldwin” boots
price upon request € 775

There are two categories of mountain boots in menswear footwear. The preceding
spread presented the best of 2018’s state-of-the-art designs - mountain boot
equivalents of the latest 4x4. This one presents the best new season old-school
luxury mountain boots - the equivalent of a tricked-out Land Rover Defender.
All-leather uppers and Vibram (or Vibram-style) tractor soles make for a mountain
boot that’s much more classical in appearance. No mountain explorer worth his or
her salt would choose a pair of Versace mountain boots to wear out of basecamp.
But for urban explorers with a fondness for classically robust styling these boots
are an appealing midwinter option which, as Jimmy Choo’s hybrid design most
explicitly suggests, aren’t made for the mountains at all.

224
OBJECTS EVENING L' U O M O NO. 002

CHURCH’S CORNELIANI
“Alastair” Oxford shoes Patent leather loafers
€ 490 € 540

DOLCE&GABBANA JOHN LOBB

Velvet slippers with embroidery details Calf single-buckle shoes
price upon request € 1.585

MORESCHI SANTONI
Crocodile leather derby shoes Printed cobra calfskin single-buckle shoes
price upon request € 680

Slippers, derbies, monkstraps or brogues. Patent, crocodile or velvet. Black? Almost
certainly. Single welt? For sure. Evening shoes remain a low profile classic in the
masculine shoe wardrobe, an essential that every man absolutely needs at least
one example of - even if only for weddings. Church’s and John Lobb present ideal
versions of the no-frills but exquisitely evolved made-in-Northampton English
evening shoe: if you intend to have only one pair, point your feet in this direction.
Corneliani’s patent leather and Dolce&Gabbana’s embroidered uppers point to a less
puritan iteration of the evening shoe that’s built for exhibitionists (and absolutely
not for funerals). Santoni and Moreschi’s detailing both represent a more classical
expression of evening extravagance for habitués of night-time action.

225
 MOTLEY
Equipment, Creams, Perfumes

226
 BURTON
“Custom” snowboard
227
€ 600
OBJECTS EQUIPMENT L' U O M O NO. 002

SMITH
“Quantum” helmet
€ 300

FERRINO
Aluminium canteen with snap-hook
€ 15

EA7 EMPORIO ARMANI STETSON ROSSIGNOL

Bordercross snowboard Fur and wool hat Snowboard all mountain
€ 2.450 € 99 € 620

From Courmayeur to Copper Mountain to Chamonix, the world’s pre-eminent
pistes are never short of well-equipped posers whose drug of choice is white
powder. But all the gear in the world counts for nothing if you can’t carve or
parallel turn with a modicum of conviction. Certain purchases, however, are
worth lavishing the maximum funds upon, whatever your level of ability on the
slopes. This is not for the sake of showing off but for the sake of staying sentient.
Chief of these is a helmet. A bit like cycling culture in the city, some winter-sports
enthusiasts succumb to the dumbly masculine urge to reject the helmet-wearing as
a sign of weakness. That’s an affectation you’ll live (if you’re lucky) to regret after a
fall - so man up, and wear one.

228
OBJECTS EQUIPMENT L' U O M O NO. 002

GARMIN
Smart sportwatch
€ 849

DSQUARED2
Snow rackets
price upon request

FISCHER Z ZEGNA ELAN

“Rc4 The Curv” ski Lined nylon gloves “Amphibio 84Ti” ski
€ 1.099 € 495 € 719

For more adventurous powder-hounds, whether via ski or snowboard, any off-
piste expeditions should also be equipped with GPS-equipped satnav – ideally
something that can enable rescue in case of avalanche. You’re also pretty dim
if you set off without a fully replenished water-bottle (although you can always
enjoy a snow-granita in an emergency). Less vital, but fun for tracking your
day’s progress once returned to the shelter of your chalet, is a ski-watch that can
log your route and altitude and also act as a GPS. When choosing your skis or
your board, it’s a subjective decision that’s all about personal choice and brand
affiliation. It’s not worth stressing about. Because once you’ve taken that first run
of the day (helmet on, of course), all you’ll care about is the adrenalin.

229
OBJECTS CREAMS L' U O M O NO. 002

VICHY HOMME PIZ BUIN AĒSOP

Hydra Cool+ Gel Hydratant, 50 ml Mountain Sun Cream + Lipstick, 20 ml Geranium Leaf Body Cleanser, 50 ml, travel kit “Vienna”
€ 10 € 10 € 65

LA MER GIORGIO ARMANI BEAUTY SHISEIDO MEN

The Moisturizing Cool Gel Cream, 60 ml Crema Nera Extrema, 50 ml Total Revitalizer Cream, 50 ml
€ 285 € 355 € 86

CLINIQUE DEPOT ACCA KAPPA

Dramatically Different Hydrating Jelly, 125 ml N0. 604 Moisturizing Hand Lotion, 200 ml Muschio Bianco, Moisturizing Hand Cream, 75 ml
€ 53 € 14 € 15

Toun28 is a South Korean beauty start-up that formulates personalised skincare
products and delivers them directly to customers. Each product lasts 28 days and
is prepared after a expert analysis of the individual’s skin. At the end of the 28-day
period, a fresh delivery arrives at the client’s house. Toun28 has already attracted
10,000 users in its first year, with customisation acting as the driving force behind the
brand’s success. Market research indicates that the future of the beauty sector lies in
personalisation. Distinctions of age, ethnicity and gender are a thing of the past: what
matters most is a person’s skin. Men are becoming more aware of their skincare needs.
It’s estimated that 32% of American men aged over 18 know their skin type, a figure
that rises to 68% among Italian men (source: Mintel).

230
OBJECTS PERFUMES L' U O M O NO. 002

HUGO BOSS ACQUA DI PARMA AZZARO

“The Scent Private Accord”, 100 ml “Sandalo” Eau de Cologne Concentré, 100 ml “Wanted by Night”, Eau de Parfum, 100 ml
€ 89 € 178 € 85

PACO RABANNE YVES SAINT LAURENT BULGARI MAN

“Pure Excess” Eau de Toilette, 100 ml “Y” Eau de Parfum, 100 ml “Wood Essence”, 100 ml
€ 90 € 109,90 € 107

COSTUME NATIONAL DOLCE&GABBANA HERMÈS

“Homme” Eau de Parfum, 100 ml “The One Grey”, 100 ml “Terre d’Hermès” Eau Intense Vétiver, 100 ml
€ 95 € 93 € 105

When the master perfumer Alberto Morillas presented his latest creation for Bulgari
(Man Wood Essence), he declared: “We all aspire to the same equilibrium. We want
the dynamic vitality of the city, but also the vital force of nature.” Accordingly, he
developed a fragrance that seeks to connect the positive vibe of the metropolis with
the energy of the plant world. Meanwhile, Christine Nagel, the nose behind the new
Prices shown in Euros may vary depending on the country of the EU
Terre d’Hermès, reveals that she “conceived a harmony combining woody and min-
eral tones.” Both these exercises in style are symptomatic of an increasingly need to
make peace with the city’s stressful and polluted environment. So, while a green co-
logne immediately appeals to our hypothalamus by conjuring up a wonderful wilder-
ness of pristine meadows, cosmetics are relying (heavily) on natural ingredients.
231
 AFFAIRS
THE PITTI
REPORT
By Silvia Schirinzi
Since its very first fashion show in 1951, Florence has evolved
in tandem with the Italian fashion system to become the world’s
single most significant hub in the business of menswear. As
Courtesy Pitti Press Office
times have changed so has Pitti, constantly adapting itself to
meet the demands of the industry it serves. Here we examine
the strategies Pitti has embraced to ensure its key role
in defining the future of menswear in 2018 and beyond.
For Raffaello Napoleone, the CEO of Pitti Immagine, the
term ‘trade fair’ is a misnomer. Especially when applied
to the world that revolves around Pitti, the collection of
events that has made Florence one of the nerve centres
of Italian fashion since the mid-1950s. In his view, the
inadequacy of this definition goes beyond the Tuscan
capital’s characteristic snobbery – an arrogance rooted in
the city’s nobility which didn’t descend from bloodlines
but was founded on “money, business and talent”, as W
magazine’s Florentine editor Stefano Tonchi tells us. Instead,
Napoleone thinks the notion of a trade fair is simply too
outdated to define what Pitti is today. “We think of Pitti as
an exhibition, a contemporary lifestyle event,” he explains.
Much has been written about the tough times afflicting
the fashion-week format in recent years, particularly in
the four main capitals of the international fashion system.
Much has also been said about how important it is for
the industry to engage in the construction of narratives.
These identity-creating operations all flow into the lifestyle
melting pot that covers everything from clichéd storytelling
to refined curatorship.
Right from its conception, the ‘mixed’ formula of Pitti
Immagine has always flanked the trade-show event with
233
AFFAIRS L' U O M O
TOTAL sound cultural programming. Pitti started as a hub for the
EXHIBITION flourishing local artisan and cultural fabric, and quickly
progressed to the runway shows held in the White Hall
SURFACE: of Palazzo Pitti from 1952 to 1982, where the big names
59 000 M2 of Italy’s finest production and craftsmanship introduced
(8 1/2 SOCCER themselves to the world.
Any account of Pitti must mention two years in particular.
FIELDS) This first is 1954, the founding year of the Centro di
Firenze per la Moda Italiana (CFMI, or Florence Centre
for Italian Fashion), which from then on constituted the
organising body for all Pitti’s Florentine events. The second
key year is 1972, which saw the official birth of Pitti Uomo
after a handful of designers led by Walter Albini headed to
Milan in 1971 to present their womenswear collections.
In the 1980s – during the exceptional period of Giorgio
Armani, Gianni Versace, Valentino and Romeo Gigli, among
others – the event went through a period of profound
rethinking. This phase culminated in the change of guard
in ’89, when Vittorio Rimbotti became the new president
of the CFMI (today headed by Antonella Mansi), and the
directorship of Pitti, which became Pitti Immagine, was
taken over by Napoleone, an appointment that represented
the first step in the reorganisation of the company’s
management structure.
“From 1989 to the second half of the ’90s,” explains
Napoleone, “our aim was to establish a primacy by working
with the greatest international designers, from Vivienne
Westwood to Giorgio Armani and Valentino. We sought to
offer a unique platform, as in the case of the two fashion
biennials [in 1996 and 1998] which developed from an
enlightened idea by Luigi Settembrini and the permission
to use Florence’s museums granted by the then Minister of
Cultural Heritage Antonio Paolucci.”
In the meantime, the CFMI diversified its activities
and partnerships in support of fashion, from trade shows
to large-scale cultural events (the Florence Biennale),
Source: Pitti Foundation
education (the Polimoda fashion school), overseas shows
(the Ente Moda Italia events) and publishing (with the
Edifir publishing house).
The year 2002 also saw the launch of the Pitti Immagine
Discovery Foundation, which, according to its official
Germany
THE WORLD AT PITTI
Japan
United
Kingdom Spain
Netherlands
France
922 757 539 529 490 389 372 340 293 268
South Korea Belgium Russian
Austria Portugal Federation
Greece
236 231 167 167 166 146 122 121 101 97
234
NO. 002
description, is the fulfilment of a project “with the aim of
reflecting on the creative relationships between fashion,
contemporary art, architecture and communication, and
the short circuit that triggers their interaction.” The special
bond that has been established with the city’s symbolic
locations, and the way Pitti has reactivated them for the
purpose of fashion, serves as a good example of functional
interaction between public and private institutions, which
has historically been difficult in cities such as Rome and
Milan. A significant case in point is Pitti’s optimal use of
Stazione Leopolda, Florence’s first railway station turned
congress and event venue.
Some of the most outstanding cultural initiatives
organised by Pitti include the 1997 performance by the
Béjart Ballet Lausanne company in the Boboli gardens with
costumes designed by Gianni Versace; Giorgio Armani’s
exhibition in the Uffizi Galleries during the 1996 Biennale,
Valentino’s show at the Accademia Gallery, John Galliano’s
installation in the Medici Chapels and that of Christian
Lacroix at the Orsanmichele Museum (which was also
“occupied” in 2011 by a young Gareth Pugh). Then there
was Hedi Slimane’s Intermission 1 installation curated by
Francesco Bonami at Stazione Leopolda in 2002, Raf
Simons’ seminal exhibition in 2003 titled The Fourth Sex:
Adolescent Extremes, again curated by Bonami at Stazione
Leopolda; Matthew Barney’s presentation of Cremaster 3 at
La Specola Museum of Natural History in 2002; and more
recently The Ephemeral Museum of Fashion retrospective
curated by Olivier Saillard (who was named Pitti’s artistic
consultant in 2018) at the Museum of Costume and
Fashion in June 2007.
Analysing the attendance figures since 2008, it is
apparent that Pitti has managed to remain relatively
insulated even in a period of wider economic uncertainty.
The Florentine event’s buoyancy undoubtedly owes much
to its tried-and-tested hybrid structure. In 2007, Italian
men’s fashion enjoyed its first significant increase in sales
since 2001, particularly thanks to exports to Russia, China
and Hong Kong, while exports to the United States
and Japan dropped due to the strength of the euro. It’s
interesting to reflect on these scenarios just over a decade
International buyers in Florence in June 2018
People’s Republic
of China
United States
Turkey
Switzerland
Sweden Denmark Hong Kong Poland
 AFFAIRS L' U O M O NO. 002

BRANDS ATTENDANCE/JUNE 2018 FIVE KEY

Source: Pitti Foundation
EVENTS IN
THE HISTORY
OF PITTI

1951 On 12 February 1951,

American buyers and journalists
attended a fashion show at Villa
Torrigiani (Giorgini’s private
residence in Florence), where the
Fontana sisters, Jole Veneziani,

1,240 54,6% 45,4%

Fabiani, Emilio Pucci, Noberasco,
Carosa and Schuberth presented
Total italians (677) Internationals (563)
their creations. The occasion was a
resounding success.

COMPANIES ATTENDANCE/JUNE 2018

1952-1982 This was the heyday
of the runways in the White Hall of
Palazzo Pitti, when Italian fashion
Source: Pitti Foundation
became an international phenomenon.
Florence also hosted the haute couture
shows of Galitzine, Ken Scott, Mila
Schön, Krizia and Valentino. In 1967
Franco Tancredi became president of
the Centro di Firenze per la Moda
Italiana (CFMI, or Florence Centre
for Italian Fashion) and signed an
agreement with Italy’s National
Chamber of Fashion. The High
Fashion shows thus moved to Rome,
while the Boutique and Knitwear
collections remained in Tuscany.

1,130 Total 669 Italians 461 Internationals 506 Waiting for admittance
1972 Pitti Uomo was off icially
launched in Florence as a fair
dedicated to men’s clothing and
accessories. In a period of rapid
expansion for the Italian fashion
THE MEDIA THE VISITORS industry, Giorgio Armani, Missoni
and Walter Albini, among others,
(NOV 2017) (NOV 2017) were making their debuts at
Palazzo Pitti. In 1971, Albini made

1,017
Media Outlets
30,000
Overall
the historic decision to
present his collection in Milan.

1989 The event underwent a

OTHERS 9,000
(influencers, 10,700
rebranding operation as the arrival of
Raffaello Napoleone as CEO of Pitti
232 Media Outlets Guests, PR repre- Italian Buyers Immagine marked the start of the
396 journalists sentatives etc.)
company’s managerial restructuring.
The new key objectives were
internationalisation and opening up to

28 Media Outlets
ES contemporary phenomena and events.

41 journalists

44 Media Outlets
JP 2002 The Pitti Discovery
Foundation was instituted with the
90 journalists
mission to investigate the “creative
relationships” that fashion establishes

55 Media Outlets
DE with other disciplines, from
architecture to contemporary art.
88 journalists
Over the years, the foundation has

56 Media Outlets
US produced numerous exhibition and
publishing projects exploring
80 journalists

81 Media Outlets
UK ITA
521 Media Outlets 1,878 8,400
the interactions between fashion,
visual arts, f ilm, photography,
135 journalists 1,048 journalists Journalists Foreign Buyers advertising, architecture and music.

235
AFFAIRS
5
OTHER
MEN’S
FASHION
SHOWS
WORLD
WIDE
— Fashion Source (Shenzhen)
At China’s biggest trade fair for
OEM/ODM clothing, exhibitors
include production-only companies
as well as firms that design and
manufacture their own goods. From
28 to 30 November.
Ñ The Fairyland for Fashion (Paris)
The event organised by Messe
Frankfurt brings together France’s top
trade fairs: Apparel Sourcing, Avantex,
Texworld Paris, Texworld Denim,
Shawls & Scarves and Leatherworld.
In September and February.
— Premium Exhibitions (Berlin)
Boasting 60,000 visitors and 1,800
brands, the trade show takes place
at the STATION-Berlin in July and
January. From 15 to 17 January 2019.
— Texworld USA (New York)
This is the comprehensive
sourcing event for fabric buyers,
R&D specialists, designers and
merchandisers. From 21 to 23 January
2019 at the Javits Center.
— Textile Forum The Fashion
Fabric Show (London)
The best-known platform for sourcing
top-quality fabrics is attended by
luxury buyers and department stores.
From 10 to 11 October.
PITTI’S
WORKFORCE
62
Direct Employees
1,200
Suppliers,
Security,
Cleaning
6,162
400
Hosting Overall Workers
4,500
Riggers
236
L' U O M O NO. 002
later, as they reveal the extent of continual global fluctuations in an increasingly
unstable market. From 2009 to 2014, Pitti’s attendances stabilised at between
30,000 and 32,000 visitors. A return to pre-crisis figures would only be seen in
January 2015, when Pitti Uomo welcomed a total of 35,000 visitors and 24,000
buyers, of whom 8,660 were foreign (an increase of 11% compared to January
2014) and 15,300 were Italian (up 13% on the previous year). In January 2016 the
numbers were even more impressive, with 36,000 total visitors and nearly 25,000
buyers, closely matching the figures recorded in January 2018.
Another curious fluctuation concerns the attendance of Italian buyers
compared to foreign buyers, whose numbers are increasing at a steady pace.
Napoleone explains this phenomenon: “The latest Pitti in June saw a decline
in Italian buyers [their numbers dropped by 2.5% compared to the previous
summer’s event]. We find this relatively worrying because we’re aware that
there’s a sort of ‘bellyache’ in Italy at the moment. After several positive seasons,
this negative swing is a symptom of the domestic market’s pensive attitude.
Consumption has also eased off considerably in France, Germany and the UK, in
the latter case probably due to Brexit,” continues Napoleone.
Staging an edition of Pitti is no mean feat. Alongside 62 permanent
employees, the organisational machine involves 1,200 people and 70 companies
in the preparation and mounting phase, 350 firms and 4,500 people accredited “The special quality of
by exhibitors, and 400 people working as reception staff. The turnover for 2017
was 38.5 million euros (up 5% on 2016). Although it’s not easy to calculate Florence cannot be
the economic impact that each individual edition of Pitti has on the city of reproduced in Las
Florence, it is possible to estimate the economic effect of Pitti Immagine’s trade-
fair activities as a whole. This positive economic fallout has been studied by Vegas or at the Javits
professor Francesca Golfetto at the Centre for Research on Markets and Services Center in New York, or
(CERMES) of Milan’s Bocconi University. She states that “with events such
as Pitti Immagine, the value for allied industries is ten times the total turnover even in the well-made
of the events themselves. We can therefore estimate that the local area receives
about 400 million euros in spill-over earnings as a result of Pitti Immagine.”
halls of Germany, the
Pitti’s evolution has not only relied on the fruitful intersection between UK or China. We
fashion and culture, but also on international talent-scouting initiatives.
The selection of brands and guest nations is geared towards the hunt for
believe that the kind
fresh talent, and the final selection is often the result of long and laborious of experience people
commercial negotiations. Pitti’s focus on new talents also emerges in its backing
of special initiatives such as the Who is on Next? contest in collaboration
have in Florence
with Vogue Italia and the International Woolmark Prize, or the founding simply wouldn’t work
of the Pitti Tutorship Reward in 2016.
Finally, just for fun, it’s interesting to picture Pitti from an outsider’s
if it were exported
perspective. With Pitti’s transformation into a cultural phenomenon, the elsewhere.”
event’s crowd of ‘peacocks’ has undoubtedly found its way into the collective
imagination over the last ten years. These immaculately dressed fashionistas — Raffaello Napoleone
are unfailingly photographed posing on the low wall of Fortezza da Basso, CEO of Pitti Immagine
stoically heedless of Florence’s often suffocating heat. The theme of the 76th
edition in 2009 was ‘Pitti People’, and it could rightly be considered the show’s
first experiment with young ‘photo-bloggers’. Not yet known by the name of
‘influencers’, they were described in the event’s closing press release as the new
‘consum-authors’ of fashion. By June 2016 the Pitti Peacocks had even earned
themselves a documentary, or rather a mockumentary, titled The Life of Pitti
Peacocks by Aaron Christian. And they’ve also stirred up many heated debates on
the pointlessness of street style (always an object of scorn) at fashion week. Or
rather at Pitti, since they’re two different things.
PITTI 2001-2017
YEARLY BUYERS ATTENDANCE & TURNOVER
40000
40M
35000
35M
30000
30M
Italian Buyers
25000
25M
20000
20M
Foreign Buyers
15000
15M
number of buyers
revenue in € 2001 2003 2005 2007 2009 2011 2013 2015 2017
[estimate]
AFFAIRS
GIUSEPPE MONDANI:
TASTEMAKER
Giuseppe Mondani joined Condé
Nast fresh from university at 21 years
old on 1 January, 1968. Today, after five
decades in the same company, he has
the extremely rare eye and, above all,
the experience of a master
mariner who has held and plotted
courses across the high seas of the
fashion world. During these voyages
he’s witnessed victories, shipwrecks,
raids and revolutions. Not to mention
a dizzying number of Pitti shows.
L’UOMO VOGUE: What was the fash-
ion world like on 1 January ’68?
GIUSEPPE MONDANI: There was
hardly anything. There was no prêt-à-
porter, just haute couture. Our biggest
clients were fabric manufacturers.
L’U.V. What role did magazines like
Vogue Italia and L’Uomo Vogue play in
that world?
G.M. The thing that has distinguished
Condé Nast is its status as a publisher
of the system. We’ve helped the fash-
ion system and its companies to grow
L' U O M O
By Paolo Lavezzari
in importance and relevance. We’ve
been a part of the product as much as
fabrics and buttons. And an important
part, too. We encouraged designers to
create their own collections, do run-
ways under their own names, and to
no longer just create styles for other
companies. They had the vision and
we had the models and photographers.
We put all our means of communica-
tion at the disposal of these emerging
talents. Our weapon and our language
was photography, the ability to make
images. In particular, with L’Uomo
Vogue we successfully generated an
aesthetic desire around the world of
men’s fashion, which in many ways
matched or was even greater than the
desire in womenswear.
L’U.V. How long did that period last
and what made it special?
G.M. It began in the early 1970s and
went on for at least 25 years. There
was an amazing generalised creativity
that resonated well with the market-
place. Publishing expanded because
the market expanded too. There was
a lot of freedom and a strong will to
do things, which opened the way to
experimentation. When one decided
to create a new magazine, no market
research was done beforehand.
L’U.V. What was the role of Pitti?
G.M. It has been a driving force for
the system, just like us. It’s a showcase
for all names, where you can make
contacts and obviously do business.
Pitti Uomo in particular, which was
launched in September ’72, had a
strong start thanks to the experience
and image that had been built up with
women’s fashion since the 1950s.
Research was the common
denominator between L’Uomo Vogue
and Pitti Uomo. Both of us were
looking for firms to give them the
chance to make themselves known to
visitors and buyers on one hand, and
to readers on the other.
L’U.V. What is Pitti today?
G.M. These are hard times for the
business, but Pitti is still a solid point
NO. 002
of reference for men’s fashion.
It’s unique in this sense. It continues
to be a great occasion for building
relationships and contacts, and I think
there’s still a strong element of research.
L’U.V. Let’s talk about the present.
G.M. I often joke that, when things
are going well, lots of donkeys look
like racehorses. But with all the
difficulties of today, lots of racehorses
look like donkeys. The positive thing
nowadays is that the market is so vast.
But this is also why approaching it is
complex and demanding in every
respect – finance, creativity, organisa-
tion and distribution.
L’U.V. What function do magazines
like VI and LUV have today?
G.M. I’m convinced that the task of
constructing images is inescapable.
It’s the job of fuelling dreams, being
able to inspire imaginations and de-
sires. In such a consumerist world, the
stimuli fuelling people’s dreams have to
be even stronger and more relevant.
237
AFFAIRS L' U O M O NO. 002

THE
ANTONIOLI
MILAN, ITALY
In the Milan boutique (and on the
Antonioli.eu web-store) the clothing

WORLD selection focuses on T-shirts, jackets

and trousers, almost all of which come
from leading French brands in high-

AT A end streetwear and sportswear:

Balenciaga, Rick Owens and Balmain.
The accessories section mainly features

GLANCE
belts, bumbags and caps, where the
chief labels are Vetements and
unsurprisingly Off-White, whose
founding partners include the store’s
By Antonio Privitera
owner Claudio Antonioli. “We’re very
careful about what we take into the
store, and we’re always looking for the
right balance between art and
science. This is our formula for
LN-CC
customer satisfaction, while still
LONDON, U.K.
performing a creative service,” says
In-store sales at LN-CC in London revolve around
Antonioli, who also believes it is
ready-to-wear. Customers’ attention is focused on
essential to understand one’s clients.
subcategories such as outerwear and knitwear, along with
“Our typical customers are aged
proposals from Saint Laurent, Gucci, Valentino and Prada.
between 20 and 35. They’re interested
Colognes have also been remarkably successful. Online
in fashion, music and art, they love
purchases are concentrated on sunglasses, followed
travelling and they have considerable
by sneakers, outerwear and knitwear, confirming the
buying power.” The store’s prevailing
penchant for luxury streetwear on the web. “This
style tends towards urban luxury
trend is dictated by the millennials. They’re looking for
clothing. “At present, men are looking
entertainment as well as luxury, and they’re very fashion
for a more comfortable and practical
oriented,” says Andrea Ciccoli, co-founder of the shop
wardrobe, which nonetheless allows
with Cristian Musardo, who adds: “Conscious design
them to express their individuality.”
has a lot of influence these days, as it combines fashion
with a sustainable production cycle. It’s a concept that
captivates mature consumers who don’t just want to be
cool, but also want information on how the garments
are manufactured.” Located in the Dalston area of East
London, LN-CC is displaced from the city’s nerve
centres. “People’s purchases are profoundly guided by
the emotional factor. It also depends on how we position
the garment, which room we place it in, the background
music and the fragrance on the air.”

KM20
MOSCOW, RUSSIA
The KM20 concept store – which recently moved to Stoleshnikov Lane,
the luxury shopping street in the heart of Moscow – boasts sizeable sales
of sweatshirts, T-shirts and tracksuit bottoms. These garments are often the
result of co-branding operations, such as the collaborations between Nike and
Matthew Williams or Adidas and Alexander Wang. Both in store and online,
the most sought-after accessories are caps, belts and bumbags, especially if they
originate from the post-Soviet aesthetic of Gosha Rubchinskiy. “Our online
clients undoubtedly make bolder choices and they’re not afraid to experiment
with more unconventional items,” they explain. To satisfy their customers’
demands, the shop follows a totally free stocking strategy, without relying on
the fashion industry’s cultural stereotypes: “Today our field no longer has any
boundaries in terms of where the pieces are made. We don’t take a sceptical
view of certain lesser-known markets in favour of other markets that might
be considered more traditional. The clothing sector is a global world, and only
designer proposals catch our attention.”

238
AFFAIRS L' U O M O NO. 002

FASHION TRENDS
ACCORDING TO
INTERNATIONAL
RETAILERS
H.LORENZO
LOS ANGELES, U.S.A.
“We sell a lot of runway looks and one-of-a-kind
products,” explains Natasha Advani, menswear buyer
and marketing director of H. Lorenzo in Los Angeles.
About 80% of this boutique’s total sales can be attributed
to stylists, who are particularly interested in the store’s
show pieces. A$AP Rocky, The Weeknd and Kendrick
Lamar are among H. Lorenzo’s regular customers, who
are drawn to pieces made with top-quality, original
and unique fabrics. In e-commerce the bestsellers are
sneakers, all in limited editions: Margiela, Raf Simons
and Comme des Garçons x Nike. The online store
recently received an upgrade: “We’ve specialised our
description of technical details to help customers
calculate sizes and fits. This has really boosted sales of
outerwear and pants, which until recently were the
most complicated items to position online.” However,
the biggest factor that determines a successful sale is
the clothes’ workmanship. “Unsurprisingly, 70% of
our clothes come from the Italian, French, British and
Japanese markets. They have manufacturing bases that
pay a lot of attention to details.”

UNITED ARROWS
TOKYO, JAPAN
Akiko Aso, head of PR at United Arrows in Tokyo,
explains how the store’s clients are making a return to
tailoring: “We sell lots of hand-crafted suits – jackets,
shirts and trousers – and often of our own production.
They come in all versions, including sharper fits for
professionals as well as less formal styles. We see the suit
as a kind of basis that absorbs cuts and fabrics with a
seasonal trend.” Meanwhile, the store’s online sales are
concentrated on casual and sports clothing, especially
shoes and bags ranging from New Balance to Church’s.
Other bestsellers in the accessories category are sunglasses
and small leather goods. “In reality, our online customers
are often the same people who also come into the shop,
probably because there’s still a certain mistrust when it
comes to buying very expensive items on the internet.”
Clients of United Arrows are over-30s who love luxury
clothes, and they’re fascinated by brands that project the
media power of a world-famous creative director. “People
who buy fashion nowadays want a product with good
wearability that will stand the test of time. Casual clothing
isn’t a priority choice anymore. Hand-tailored jackets and
leather shoes are becoming mainstream again.”

239
AFFAIRS
CHOICE CUTS:
THE FRESHEST
THOUGHTS ON
MENSWEAR IN
THE PRESS
“What It’s Really Like to Be Black
and Work in Fashion”
by Lindsay Peoples Wagner
From The Cut, August 23, 2018
I surveyed more than 100 black
individuals, from assistants to
executives, stylists, celebrities, models,
and everyone in between. Plenty of
names you might recognize declined
to participate, and several cited fear
as the reason. But I also had some of
the most authentic, and often tearful,
conversations about the pains of racism
I’ve ever had. It all makes sense once
you see that behind the scenes, on
sets for magazine covers, in castings
for runways, and on the teams chosen
to create multimillion-dollar ad
campaigns, black people are rarely to
be found in positions of power. There
have never been more than one or two
black editors-in-chief of any major U.S.
magazines, and only one black designer
leading a major American fashion
brand. (…) There are many reasons
for this – financial barriers, social
obstacles, colorism, bias, and plain old
racism. I heard about them all in my
conversations. The stories ranged from
covers lost because there was no hair
and makeup team trained to do a black
model’s hair; to the coded, terrible
things people say to black editors, and
the ways in which some are asked to
explain their culture and vouch for
what is cool, yet are denied the chance
to contribute in meaningful ways.
240
L' U O M O
“The Prada Flame Shirt
Is Performance Art”
by Troy Patterson
From The New Yorker, July 22, 2018
It seems possible that the f lames
on the shirt combusted when the
dramatic pattern contrast provoked
a violent chemical reaction.
The shirt resembles an elevated
version of an embarrassment
perpetrated by one’s father at
a backyard barbecue. Its ugliness
is impudent. The f lames might have
leaped to the print from a shirt owned
by a driver whose rear window
features a decal of a urinating cartoon
character, or from the uniform of
a bygone bowling team. The shirt
is contemporary in the post-normcore
way of high-end fanny packs and
opulently shapeless dresses.   speaking of the increasing popularity
The shirt’s retail price of twelve
hundred dollars is, even by the
preposterous standards of the luxury
market, bananas. You can get a silk
Gucci bowling shirt, of a similar
cut, with a floral pattern placing
extravagant orchids and shimmering
beetles against a field of olive, for a
mere eighty dollars more. On the other
hand, the Prada shirt exists alongside
another, made of nylon gabardine and
printed with banana clusters, priced
at $1,790. It requires great resources
– adamant confidence, foremost – to
indulge in the performance art of
getting oneself dressed at this level,
to leave the house in a shirt that most
of us could wear nowhere at all.
Edited by Silvia Schirinzi
“The Death of the Plain,
Preppy Sneaker”
by Chris Chafin
From Racked, August 29, 2018
For years now, my most frivolous
indulgence has been buying a
blindingly white new pair of Keds
Men’s Champion sneakers. I do this
annually. (...) This year, I found
myself clicking through the Keds site,
unable to f ind them.  Eventually, it
became all too clear that they must
have been discontinued. A Keds
spokesman conf irmed this via email:
The Men’s Champion is gone. (…)
“There has been a movement toward
what you would call hypebeast-y-type
footwear,” in the men’s market, Brian
Trunzo [senior menswear editor for
trend forecasting agency WGSN] said,
of a whole range of brightly colored,
often intentionally ugly shoes, a
unique blend of streetwear style and
high fashion, whose ultimate example
is Balenciaga’s $900 Triple S. These
shoes, and their lower-priced cousins
from brands like Fila, have moved
from relatively niche popularity
among sneaker fanatics (historically,
primarily African and Asian
American) to effectively dominating
the industry across demographics.   that comes with having so many
If you want to know how complete
that victory has been in the world
of men’s clothing, just drop by your
local J.Crew.
NO. 002
“How The Art of Woman-repelling
Finally Entered Menswear”
by Lauren Sharkey
From i-D Magazine, July 5, 2018
Men’s fashion has caught onto the
art of self-expression. Just as tight-
f itting dresses and leg-baring skirts
were replaced by f loaty prairie designs
and ugly sandals for women, men’s
strait-laced suits and standard leather
jackets have been swapped for lacy
looks, look-at-me prints, and even
comfort-f irst tracksuits. A 1982 study
showed that contrary to popular
opinion, men are more self-conscious
when it comes to how others perceive
the way that they dress. And unlike
male animals who display vibrant
colours in order to win a mate, male
humans tend to stick to quiet hues
and silhouettes so as not to scare
off potential admirers (rather than
as a mere personal preference).  (…)
What’s interesting is that this dressing
for yourself trend has been adopted
by both independent designers and
the monoliths of the industry. (…)
Though these collections may each
have their individual quirks, together
they form a way for men to explore
their sartorial likes and dislikes. To
revel in the freedom and excitement
possibilities.  (…) These clothes
don’t care for the opinions of others.
Instead, they encourage the wearer to
radiate conf idence. Like Mark Twain
said: “The worst loneliness is to not be
comfortable with yourself.”
AFFAIRS L' U O M O NO. 002

CONTROVERSY:
DOES THE TIE
HAVE A PLACE
IN MODERN
MENSWEAR?
By Silvia Schirinzi

Nicolas Gabard Founder of Husbands

“I think classical style and the ways you can play with
YES its elements – such as the tie – represent a rare space
where men can express themselves and not just be ‘fashionable’. It’s
also a kind of paradox because the opposite was true in the ’70s and
’80s, when classical apparel was a badge of conformism. Nowadays,
instead, conformists are the ones dressed in jeans and streetwear.” This
is the view of Nicolas Gabard, the 48-year-old who in 2012 founded
Husbands, a brand and boutique located at 57 rue de Richelieu in
Paris. Having initially become a lawyer to please his father, and then
abandoning the profession to embark on an equally unfulfilling career
in advertising, he finally decided to devote himself full time to tailoring.
The fabrics of his suits come from England, Scotland and Ireland, while
the production is carried out in Italy. “Glenn O’Brien once said that
when he was young nobody wore designer clothes, but then fashion
prevailed over personal style. Yet it is style that sets you apart from
everyone else. That’s why he believed it was very important not to be
fashionable.” Gabard’s working experiences have helped to nurture his
fascination for dress codes: “In France we don’t have a proper uniform
like in England, Italy, the Ivy League or Germany. However, the
French do have their own distinctive approach to clothes, using them
as a means of self-expression, mixing them up and sometimes adding
a touch of bad taste.” So what’s the essence of dressing as a man in
2018? “I’d say my customers have decided to let go of adolescence and
accept adulthood. They’re conscious of growing up and belonging to a
lineage of men who have passed on their acquired knowledge from one
generation to the next. And that’s what classic style is all about: lineage,
style icons, history and handing down heritage. I’d like to persuade
young men that suits aren’t just for dandies and bankers. Rather, suits
are a blank page where you can do what you like,” declares Garbard. In
the final analysis, he is convinced that today’s young men shouldn’t wear
ties to follow old rules, but “for the pleasure of adding another way to
communicate something about themselves.”
Photo Takay/Trunk Archive.
Giovanni Gastel Fashion Photographer
“I don’t wear a tie unless it’s to please the person who
NO invited me,” says Giovanni Gastel, who is practically
resigned to the idea that ties are doomed to obsolescence. “To my mind,
they just seem like a totally useless piece of cloth nowadays. I’ve always
preferred to substitute them with shirts that have unusual, almost cold
designs. For me these details stand in for the tie, even if I’m wearing a
dinner suit. Of course, I put on a tie if the occasion requires it, and if
I’m wearing a tuxedo somewhere I don’t go without a bow tie. But it’s
an item of clothing I only wear if my host expects me to. Otherwise
my ties would never make it out of the wardrobe.” At the risk of stating
the obvious, the word that best sums up Giovanni Gastel is elegance.
As much as defining his public persona, it is also the hallmark of
his work that has made him one of the world’s most famous fashion
photographers from the ’80s to today. A broad concept that recurs
repeatedly in his interviews and profiles is that elegance for Gastel is
neither a set of predefined rules nor a purely aesthetic quality. On the
contrary, it should be taken more as a moral value – a vision of one’s
role as a man in the world. In this sense elegance is a code of conduct
that embodies a set of well-defined ideals, and these in turn evolve and
transform with the man himself. This brand of elegance implies a self-
awareness that in Gastel’s opinion never – or no longer – emerges in the
simple act of wearing a tie, which he sees as an extreme simplification
of ‘dressing as a man’. He explains: “I think this new elegance is about
not paying too much attention to the rules, and inventing your own
dress style as you please. I also believe there’s a new form of dandyism,
which is very unlike the dandies of the past.” Hence the tie would
appear to be “a useless legacy from yesterday. It takes us back to a world
that was actually rather sad, a place we all want to escape from,” he
concludes. However, with the demise of fixed rules to learn and recite
by heart, this new elegance implies a creative and intellectual effort that
might not be suited to everyone.

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MIXING WITH
THE MARTINEZ
By Samira Larouci

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FIVE DJ’S
SPINNING
OUR WORLD

Photo Instagram @peggygou_

There are few DJs who have truly managed to integrate into both the music
and fashion worlds. But Bronx-born siblings Steven and Chris Martinez, aka
The Martinez Brothers, are a shape-shifting phenomenon unto themselves.
The duo, who signed to IMG Models in late 2016, have been hailed as
‘crown princes’ of electronic music, and have graced the international party
scene for over 10 years.  And while successfully cementing themselves on the
Peggy Gou Korea-born, Berlin-based techno DJ Peggy
global fashion circuit, they haven’t lost an ounce of credibility in the process. Gou usually spends her time producing tracks or playing
The Martinez Brothers are equally at home playing to an audience to gargantuan crowds at international EDM festivals.
of 60,000 at the Las Vegas-based Electric Daisy Carnival as they are But when she’s not, you’ll catch her DJ’ing for brands
performing at Donatella Versace’s super-exclusive Met Gala after-party like Burberry, Hermès, Tom Ford and Fendi.

(as they did earlier this year).

Thanks to their collabs with top brands such as Fendi, Versace, Cavalli
and Givenchy, the brothers’ expansion into the fashion world was practically

Photo Instagram @simihaze

inevitable. Their first foray occurred after a chance meeting with Riccardo
Tisci at Ibiza’s iconic DC10 mega nightclub, where the duo have a
longstanding residency. “He happened to be at the club while we were
spinning. By coincidence we were wearing Givenchy that day, and when we
met we just hit it off,” say the brothers. Their encounter with Tisci proved
to be anything but a hazy dance-floor chat. True to his word, the Italian
fashion designer called them a few days later and invited them to meet him at
Simi & Haze LA-based Palestinian identical twins
Givenchy’s Paris HQ to discuss working together. “We ended up collaborating
Simi & Haze are the faces behind the most recent Off-
with him and the Givenchy shows for almost two years. It was an incredible White sunglasses campaign, and have gotten a name for
experience. Not only did it give us the chance to work with the fashion themselves by spinning records for Cartier, Alexander
world, but also to experiment and challenge ourselves musically by coming up Wang, MoMa and Cannes Film Festival to name a few.

with different types of sounds for each show. It was really special.”
Despite their global acclaim, myriad of celebrity fans and fashion-world

Photo Instagram @novacancyinn

co-signs, the brothers have not lost sight of how far they’ve come. Born and
raised in the Bronx – which is still New York’s most impoverished borough –
the duo are instinctively humbled by everything that’s unfolded before them.
Growing up with what they describe as a “sheltered lifestyle”, the brothers
thank their parents for driving home their blessings. “Our mother and father
didn’t have it easy growing up,” they explain, “so they made sure we didn’t go
through some of the same things they did. But no matter what, when you’re in
the Bronx, there’s no escaping the grime of it, which was always all around us.”
No Vacancy Inn Whether it’s hosting parties for Louis
Music was an integral part of their upbringing and essentially their escape
Vuitton or GQ, designing a collection for Off-White
route. Thanks to their father’s insistence on them playing in the local church or collaborating with Frank Ocean and Kanye West, the
band, as well as introducing them to the world of soul, funk and jazz, the UK/US turntable twosome Tremaine Emory and Acyde
brothers began experimenting with music from an early age. “Our dad was are on top of their game.
always the rebellious one. He showed us all types of music. We really absorbed
all of it and carried it into being in bands and then DJing during our early

Photo Instag ram @siobhanbell

teens.”
The Bronx also taught the boys how to dress. Having witnessed the
borough thrive in the hip-hop heyday of the early ’90s, the brothers attribute
their inclination for fashion to the scene of those years: “Being from the
Bronx and coming from that hip-hop background, it was all about being fresh
and trying to look as stylish as you could,” they say. But they also point out
that the marriage of music and fashion is anything but new. “The two things
have always come hand in hand, and that’s definitely true now more than
ever. I remember even back in the ’90s, brands would sometimes have live DJs Siobhan Bell The London-born DJ and MC has
commanded dancefloors everywhere from sweaty
accompanying their runways, and we used to watch some of those shows just
London basement clubs to parties for Vogue, Balmain,
to listen to the music.” Miu Miu, Alexander Wang and the British Fashion
Describing their style as “a mix of European swag from big fashion houses Council. Whatever the crowd, she’ll move it.
and more obscure brands”, Chris and Steven draw much of their inspiration
from their constant travelling and DJing. “We combine a lot of different styles
Photo Instag ram @honeydijon

and just kind of make our own looks. Travelling all these years has really
influenced our style. We always mix the hip-hop side of things, whether it’s
our Jordans or our caps.”
As with most people from the Bronx, even if they spend their time
headlining some of the most exclusive parties in the world, the brothers can’t
help recognising the importance of their upbringing in getting them where
they are today. “It’s made us really driven, even though there’s no way we
wanted to stay there for the rest of our lives. We always strived to be better
than what was going on around us.” Ultimately, however, the humble duo still Honey Dijon A native of Chicago (where it all began),
Honey’s sweet-spot is deep and dirty house music.
hasn’t quite adjusted to being in the fashion spotlight. “It’s really weird because This wickedly funny DJ has played for Hermès and
we don’t see ourselves as models or influencers. We’re just really fortunate and Balenciaga, plus soundtracked runways from Givenchy
blessed to have these opportunities. It’s amazing to say the least.” to Louis Vuitton.

Above. Steven and Chr is Martinez, photo courtesy press office. 243
AFFAIRS L' U O M O
Federico Curradi is on the phone from an island in the Italian sun. The
cellular service is terrible. “Hold on,” he says, laughing. “I need to stand
in the exact right place and the exact right position to get reception.”
It’s the first hint of Curradi’s convivial demeanor – an attitude and
personality that is clearly reflected in the clothes he designs for his
namesake label, as well as what onlookers might expect with his debut
at the helm of Rochas menswear in January 2019. (Curradi was hired
at Rochas in mid-2018, following the departure of Béatrice Ferrant
in late 2017 – Ferrant had only produced two seasons, and before that,
the label’s men’s branch had been inactive for 22 years. Curradi’s prior
experience includes stints at Iceberg and Roberto Cavalli.)
Curradi’s own company is now in its fourth season. The aesthetic,
especially for S/S 2019, can be described as lived-in, outsized, relaxed,
comfortable, and even surf-like, if the Tuscan coast had waves. “It’s a
very small brand,” says the designer, “but it’s got a lot of ambition. It’s
eco-friendly. All the production is around Florence, and all the factories
we work with have to respect the environment.” The line also does not
use “luxury leathers, plastics, or nylons,” but, rather, it features natural
materials ranging from cottons to linens to wools to cashmeres to silks.
Curradi’s latest collection promises a “modern mindset,” with loosened,
off-the-body shapes and a beach-bum insouciance that is often hard to
find in Italian men’s fashion. “After four seasons,” he says, “people are
starting to appreciate the value of our materials, design and research.”
244
NO. 002
FEDERICO
CURRADI:
ON MEN AND
WOLVES
By Nick Remsen
Photo by Pasquale Abbattista
What, then, will Rochas render? Ferrant’s aesthetic was arguably
antipodal to Curradi’s; she favored a slicker, more Euro-urban look.
“Rochas is a very iconic French brand and the name is very… luxury,”
says Curradi. “I won’t do 100% of everything I am doing with my
own brand at Rochas, but, sure, the same rules need to apply. I want
everything to be natural. We will select really special, really luxury
fabrics. I think that what is important for this new project, now, is
that it has to be beautiful in a modern way. And by modern, I mean it
needs to be rooted. Because I think if you can do something that has
consciousness, it’s more modern than anything else.” The sentiment
sounds promising; a fresh, firmly considered beginning for a house that
had, frankly, a false start in its restart.
As he cultivates his label and settles in to the rhythms of Rochas,
Curradi will remain living just outside of Florence. It is his longtime
home – and he has more than a few houseguests to take care of. “I love
animals,” he says. “I have cows, horses… I have five wolves.” Wolves?
“Yes… at the end of the day, wolves and dogs… they are the same,” he
says. (To note, a wolf motif made an appearance in his debut collection,
F/W 2017.) Curradi adds: “You won’t believe this… the oldest one, he
turned 17 years old at the end of last year. He is probably the oldest wolf
alive in the world. I think it’s a record for wolves.” He chuckles, and as
he does, the phone cuts off: it feels like a good time to let Curradi return
to plotting his vision of beautiful modernity menswear.
 T +39 055 36931 uomo@pittimmagine.com

from
grant
special
95
AFFAIRS L' U O M O NO. 002

MAN UP
TO
MAKE-UP
By Samira Larouci

The beauty industry has

discovered a new, ripe-for-growth
customer base: men.
As definitions of masculinity
change for the better, we celebrate
the rapid rise of male make-up.

Chanel has just launched its first ever male make-up

range. Boy de Chanel, the line of three tinting and
masking products draws on the company’s expertise in
women’s beauty products to, it said: “write the vocabulary
of a new personal aesthetic for men”.
Meanwhile the American brand Milk Makeup has
placed model, actor and all-round It boy Luka Sabbat
at the forefront of its make-up campaign. L’Oréal has
suggested that men’s make-up counters could be a reality
in its retail network within five years. And in the UK,
an online tutorial created by the fast fashion e-tailer
ASOS entitled ‘How to do natural make-up for men’
has accumulated over 750,000 views on Facebook. So is
men’s make-up really about to go mainstream?
The signs suggest yes, absolutely. Over the last few
years, a push for gender fluidity across the fashion
industry has seen innumerable designers and fashion
houses consolidate their collections and re-evaluate the
now outdated stereotypes of the gender binary. And
where the fashion industry goes, the beauty industry
often follows. Lee Dong Wook, the model and actor from South Korea is the face of Boy - the first ever
In the same way that women feel more comfortable makeup line for men by Chanel.
than ever ditching their stilettos for sneakers, men have
for several years allowed themselves to let go of the
stigma attached to self-care and grooming. Embracing
beautification is the natural extension of this process.
Yet there will probably be some of resistance. For MEN PERSONAL CARE MARKET
whenever men choose to do something outside of the
gendered stereotypes placed upon them, their identity TOP INVESTMENT POCKETS
becomes subject to cynical scrutiny: remember the now FORECASTS 2014-2022
archaic terms ‘metrosexual’ and ‘spornosexual’?
Still, if the hunch being followed by Chanel and L’Oréal 8.0
Oral Care
is correct, the rise of male make-up is all but inevitable.
7.0
The ascent of the male grooming industry – which was Skin Care
worth close to 50 billion dollars last year according 6.0
Shaving
to Euromonitor – was in part predicted by Tom Ford,
Market Growth

who adamantly told Estée Lauder’s executive group 5.0 Hair Care
president back in 2013 that tapping into the male beauty
market was an essential move for his eponymous beauty 4.0 Personal Cleanliness
brand. And he wasn’t wrong. Today, with independent
3.0 Others
gender-neutral brands like Jecca and Fluide popping up
every week, and beauty giants like Charlotte Tilbury 2.0
and MAC (who claim that men represent seven per cent
of their customer base) creating make-up lines entirely 1.0
dedicated to the needs and wants of the male market,
inclusivity has become a non-negotiable principle.
0 1 2 3 4 5 6 7
As Chanel noted when unveiling Boy de Chanel:
“Beauty is not a matter of gender, it’s matter of style.” Market Attractiveness Source: Allied Market Research

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AFFAIRS L' U O M O NO. 002

BEAUTIFUL 3 SOCIAL
MAN:
5 TOP
WHAT MEN MEDIA MAKE-
UP STARS
MAKE-UP
PRODUCTS
WANT TO
LOOK LIKE By Susanna Macchia

Val Garland, Global Beauty Director L’Oréal Paris

L’UOMO VOGUE: In the UK, men now spend an average of £650 annually on
Super Smooth Lip Balm by the Scandinavian
make-up products, and this trend is growing across the world. What do you think
skincare brand Recipe For Men. is happening?

VAL GARLAND: Regardless of race and gender, everyone wants to make the best
of themselves. In the past, make-up and skincare were always being advertised or
packaged in a feminine way, so it was stereotyped as a women-only category. The first male spokesmodel for
This disguised the fact that men also want to look good and feel more confident CoverGirl, James Charles, 19,
in themselves. Nowadays, when gender equality is an everyday subject in life and emerged as a make-up YouTuber
breaking stereotypes is no longer a taboo, I think it’s just normal for men and in 2015. Today he has over 7 million
women to express themselves in ways they are happy and comfortable with. subscribers and more than