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I N E D I C O L A D A L 0 6 .1 1 .1 8
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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- competizione. Uno, dicia- Non è solo una gonna
ti. Per lo meno: non solo, mo così, ideologico: repli- quella che indossa Bebe
quella della prima sfilata care se stessi è coerenza o Vio (pagina 67). Non di
Celine firmata Hedi Sli- arroganza, convinzione o vestiti, ma di tavole bian-
mane. È piuttosto uno di assenza di idee? Uno, in- che da riempire di sogni, e
quegli intrecci di accadi- fine, politico, tra chi con- di valicabili limiti della fan-
menti, opinioni, interessi sidera sessiste le minigon- tasia è fatta la fotografia di
che raccontano qualcosa ne di Slimane, accusato di Sølve Sundsbø, cui Vogue
del mondo in cui viviamo, rappresentare un mondo Italia dedica una grande
rendendo la moda un pun- che l’onda di #MeToo ha mostra a Milano (intervista
to di osservazione non ba- reso obsoleto; e lo stesso di Alessia Glaviano a pagi-
nale sulla contemporanei- stilista che vede piutto- na 226). Sono solo piume,
tà. Ricapitoliamo. Una de- sto sessismo nell’accusare quelle di cui scrive Lynn
signer molto amata (Phoe- lui, uomo, di aver preso il Yaeger a pagina 50, eppu-
be Philo) lascia il marchio; posto di una donna, e vio- re la loro leggerezza dice
la sostituisce una star della lenza nel voler imporre un qualcosa di noi: del nostro
moda, Hedi Slimane, che unico modo di vestire. bisogno, quando il cielo at-
pochi giorni prima della torno è grigio, di alzarci in
sfilata rilascia un’intervi- Non erano solo vestiti volo e andare. •
sta in cui mette le cose in quelli che Flavio Lucchi-
chiaro: io sono io, dice, ni metteva in pagina agli
non penserete che adesso albori di Vogue Italia e
stravolga la mia storia. In- de L’Uomo Vogue: era
fatti manda in passerella 96 una certa idea di Made in
look che nulla hanno a che Italy (forse persino d’Ita-
vedere con lo stile Philo, e lia), giovane e piena d’e-
photo by tim walker. molto con il lavoro da lui nergia, pronta farsi strada
stesso fatto in passato. Se- nel mondo anche grazie
guono feroci polemiche, ai nostri giornali (l’inter-
ancora accese dopo setti- vista di Raffaele Panizza è
mane, e consuete scariche a pagina 236). Non molta
d’odio sui social media. di quella energia è rimasta
Direte: succede. Certo, ep- oggi, sarebbe lungo spie-
pure raramente con questa gare perché e per colpa di
animosità. Era interessante chi. Resta una domanda,
provare a capire perché, lo che mi ha posto recente-
fa Michele Masneri a pa- mente il top manager fran-
gina 232. Sintetizzando, la cese di un grande marchio
questione tocca più piani. italiano: ma se un Paese
controllasse due terzi della
Uno, come ovvio, è di bu- produzione mondiale del
siness: lo scontro tra i due greggio non farebbe qual-
giganti francesi del lusso, cosa per difendere il suo
Lvmh per Celine e Ke- primato? E perché voi, che
ring per Saint Laurent, producete i due terzi del
che le scelte di stile di Sli- lusso mondiale, non siete
mane mettono in diretta in grado di proteggervi?

28 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.

SEAMASTER DIVER 300M


MASTER CHRONOMETER

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.
Quality is Our Direttore Responsabile Creative Director
Business Plan emanuele farneti giovanni bianco

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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 Invece sono andata via.


N O V. d’autore dedicato I motivi li conosci, e in ef-
fetti si riducono a uno solo.
2 0 1 8
N. 8 1 9
€ 5 , 0 0

on alla copertina di Vogue. L’amore è finito, lo sai bene


tu che da anni ti comporti
Quando leggerai questo come se non fosse mai esi-
foglio, io non ci sarò più. stito. Quello che ci aveva
the Immagino tu abbia chia- trascinato fino a ieri, il ri-
mato il mio nome entran- cordo, sarebbe forse basta-
do in casa, magari più vol- to, se avessimo affrontato
te. Forse mi hai cercata al questo tempo insieme. Ma
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 tu mi hai lasciata sola.
di quella voce che ti dice- Non cercarmi, non riusci-
va che il mio numero non resti a trovarmi. Uno di
N O V.
2 0 1 8
N. 8 1 9
esisteva più, pensando a un quegli oceani, dentro di
errore. No, non lo è. me ha preso il sopravvento
€ 5 , 0 0

on e si è ribellato. Alla tua svo-


Queste righe potrebbero gliatezza, ai tuoi tradimen-
risparmiarti la fatica di cer- ti, alla tua sicurezza, al pas-
care notizie da amici, pa- so deciso con cui entravi in
the renti, colleghi di lavoro. Io casa sapendo che sarei stata
non sono più lì. Non ci so- lì, pronta ad ascoltarti. L’a-
no più le mie cose nell’ar- more è finito quando hai
madio, e gli oggetti – libri, smesso di chiedermi: “Co-
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 me stai?”. E l’oceano allora
– che erano nelle nostre si è mosso, in un’unica on-
stanze, sono scomparsi in- da. Tranquillo, potente, e
sieme a me. Sì, lo so. For- inarrestabile.
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 Non ti chiedere dove sono,
sono sempre stata per te. E non lo indovineresti mai.
la consuetudine di avermi Puoi immaginarmi così,
the sempre al tuo fianco, la si- se vuoi. Sono in un posto
curezza con la quale sapevi lontano, in una nuova casa.
che ci fossi, mentre invece Altrove. Intorno a me c’è
ti comportavi come se non quello che ho preso della
move fossi lì, potrebbe farti pen- nostra vecchia vita, e den-
sare a uno scherzo, o a una tro di me ho la forza di az-
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 zerare tutto e ricomincia-


un capriccio. Sbaglieresti. re. Sono sola, e forte. Sono
Qualcuno, mi sembra mia il personaggio principale
sorella, ti disse una volta, della mia storia. Sono bella
che nascondevo oceani come non sono mai stata,
dentro di me. Tu ridesti, come tu non mi hai mai vi-
FREJA BEHA ERICHSEN IN FENDI, MIU MIU, MAX MARA
PHOTOGRAPHED BY ETHAN JAMES GREEN come se avessi la chiave di sto. Non mi riconosceresti.
STYLED BY CLARE RICHARDSON. tutti i miei segreti, come È l’inizio della mia nuova
In alto. Giacca doppiopetto e gonna midi di cotone a pieghe, Fendi; reggiseno Tableaux Vivants; calze Pan & The se solo tu sapessi la verità vita. •
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 *Scrittore, regista e sceneggiatore
In basso. Blazer monopetto in foulé di cashmere bi-stretch e gonna a tubo di raso plissettato, Max Mara. esistiti, fossero comunque napoletano, 50 anni, ha pubblica-
to tra gli altri il romanzo Un bacio
Reggiseno Yasmine Eslami; calze Falke. Pumps di vernice, Gianvito Rossi. Sulle gambe, Fluide Parfumé Izia, Sisley. conosciuti, domabili, a tua (Bompiani, 2010). Questo mese
hair Shay Ashual @ Art Partner. make-up Kanako Takase @ Streeters using Charlotte Tilbury. manicure Casey disposizione. Da attraver- esce Le voci del sogno (La nave di Te-
Herman for Dior @ The Wall Group. set design Julia Wagner @ Clm. on set Cat Lewis @ M.a.p. sare o prosciugare. seo), una raccolta di racconti brevi.

46 vogue.it n. 819
FO R E WO R D/1

In Sneakers Per Sempre?


di SUZY MENKES*

Ho posato lo sguardo sul- que anni, anzi, alcuni era- Tuttavia, nel mondo della basta più. Prendiamo Cé- Celine che Pierre Bergé,
la sagoma di legno del pie- no molto più giovani – moda le cose cambiano line. Guidato da Phoebe grande sostenitore di He-
de di Pierre Bergé, il com- sembravano aver messo da impercettibilmente e al- Philo, il brand era sinoni- di, avrebbe sicuramente
pagno di una vita di Yves parte le sneakers. trettanto velocemente. mo di femminilità, ed era adottato. La moda trova
Saint Laurent. Accanto, su Non vuol dire che la gente esplicitamente pensato sempre il modo di essere
uno scaffale dei laboratori Non c’è dubbio che le stia necessariamente ab- per soddisfare le richieste un passo avanti. •
Berluti a Parigi, c’era, co- scarpe sportive abbiano bandonando le sneakers, della donna contempora-
me fosse scolpita, una invaso il mondo della mo- piuttosto che sta cercando nea. Passando alla versio-
scarpa stringata di pelle, da maschile – non da ulti- delle scarpe adatte a occa- ne proposta da Hedi Sli-
quella che ogni uomo ele- mo da Louis Vuitton, dove sioni diverse. C’è stato un mane nella sua sfilata Ce-
gante ha almeno una volta Virgil Abloh, il nuovo di- momento in cui era cool line (ora senza accento),
sognato di avere. rettore artistico menswe- arrivare a un matrimonio l’abbigliamento maschile
ar, è subito diventato cele- in abito elegante e scarpe sartoriale ha eclissato lo

foto alex majoli/contrasto. traduzione alice guareschi.


Accanto a me, in quei bre per la sua collabora- sportive dipinte a mano a stile femminile spesso più
giorni di porte aperte del- zione con Nike. Le snea- motivi vivaci. Ora, quell’i- frou frou. Cosa indossava-
le Journées Particulières kers/trainers sono “l’ac- dea ci fa fare solo un gigan- no gli uomini di Hedi?
organizzate da Lvmh, una cessorio” della generazio- tesco sbadiglio “fashion”. Stivaletti affusolati e ap-
fiumana di uomini e don- ne dei millennials, e quin- puntiti, con tre cinturini
ne che avevano comprato di è davvero difficile im- Sulle passerelle è successa (visti poi anche ai piedi
il biglietto per assistere a maginare che qualcuno la stessa cosa. Sarà forse delle donne). C’erano
questo evento dedicato che non ha mai infilato perché sono tante le sfilate scarpe maschili lucide con
all’artigianato. Lo sguardo una scarpa “vera” – con to- che mescolano i sessi, il cinturino in preziosa
mi è caduto sui loro piedi maia e parte esterna di menswear e womenswear, pelle color ruggine, e per-
e mi sono resa conto di pelle rigida, più soffice ma di fatto il messaggio sino stringate argento in
una cosa straordinaria: nella linguetta – possa ora ora pare essere: siate ele- netto contrasto con un
tutti gli uomini – di cui accettare di costringere i ganti dalla testa ai piedi. cappotto leopardato.
probabilmente nemmeno piedi in una solida stringa- Quell’idea un po’ indefi- E per finire c’erano anche
uno superava i trentacin- ta di pelle. nita di “smart casual” non delle stringate da uomo *International Vogue Editor

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

foto gorunway. traduzione chiara stangalino.


dove si sono viste monta­ Ci ho pensato parecchio, e intorno ai loro bei colli. tando, letteralmente e fi­
gne di abiti con le piume. vi dico che la risposta è: Le nostre antenate edoar­ gurativamente, dei pavo­
assolutamente no! diane ne andavano pazze, ni? «Sono affascinato da­
Da Gucci, dove c’era per­ ed erano capaci di issare gli uccelli in volo», spiega­
sino una modella con un La gioia pura e frizzante un intero uccello morto va il maestro Alexander
pappagallo appollaiato delle piume è esattamente sui loro già enormi cap­ McQueen, un uomo che le
sulla spalla, erano color quello che ci vuole in un pelli. La richiesta era tal­ piume le amava molto.
chartreuse e danzavano momento come questo. mente spropositata da «Mi ispira la forma della
sul palco. Da Loewe sem­ Quando i tempi sono duri mettere in pericolo la so­ piuma, e anche i suoi colo­
brava di sentir cinguettare vogliamo davvero ritirarci pravvivenza di intere spe­ ri, la grafica, l’assenza di *Contributing fashion editor di
uccelli con piume dalle nella codardia di jeans e cie di uccelli, il che fo­ peso, l’ingegneria: è tutto vogue.com e contributing writer
sfumature pastello. Da maglietta? No! Vogliamo mentò la nascita di un 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 abitini postmoderni da di- nelle profondità siderali di
passato. Lo è nell’imme- sco-bambina (Louis Vuit- galassie lontane lontane.
diato: flash-forward sta- ton), il medioevo prossimo
gionale che anticipa di sei venturo delle cotte metal- Non solo il tempo è mate-
mesi, o forse tre, l’oriz- liche (Paco Rabanne) e il ria elastica e soggettiva,
zonte del possibile, del le- barbarismo del vello ani- dunque, come da ultimo
cito, dell’esteticamente ri- male gettato sul mantello hanno rivelato autorevoli
levante, spostando aspira- di cellophane (Gareth Pu- studi. Le pulsioni umane
zioni e modi d’essere da gh); c’è stato il glamour da di base sono sempre quel-
qui a lì e da lì a qui, sempre sciantosa replicante come le, dall’altro ieri a dopodo-
che poi non ci si metta il una diva dell’âge d’or mani. Il corpo nudo non
see now, buy now – se ne (Thierry Mugler) e il mil- basta. Va dipinto, decora-
ricorda qualcuno? –, nefa- lenarismo apocalittico che to, protetto, amplificato.
sto azzeratore dello iato antepone al bello l’utile, Così è dalla Terra del
fermentante nel quale il glorificando la funzione Fuoco a Marte passando
desiderio plasma la perso- (Final Home). Un futuro per un posto qualsiasi,
na, dando tempo alla pro- così vero da essere sorpas- adesso, dell’orbis terra-
iezione di modellarsi in sato dalla realtà dei fatti, rum. Con una certa legge-
realtà. Ma questo è ritmo come la plastica insosteni- rezza del sentire (la sugge-
noto e spiccio, dettato che bile che va smaltita, o usata risce a suon di veli, kimono
piaccia o meno dal ciclo così, deteriorata (lo fanno e iridescenze Angela Mis-
industriale cui le evoluzio- oggi da Courrèges). soni), quella sì conquista
ni dell’apparire sottostan- del momento. A cuor leg-
no oggi che il mercimonio Giunto il presente di gero, suturando eoni senza
è condizione ontologica quello che era futuro, ec- bagagli emozionali. •
condivisa, anche se poi co, tutto è al punto di
basta un semplice tric trac partenza. Meglio allora
di imitazioni e appropria- azzerare ai primordi. I re-
zioni per ottenere hic et cessi della storia, del resto,
nunc l’effetto di quel che catapultano nel futuro,

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


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


carattere.
Il luogo dove sono stato più fe-
lice di lavorare.
Come vorrei morire.
A letto, nella tranquillità
Grazia e gentilezza. Al computer della mia scri- del sonno.
Talley vania in camera da letto.
La mia qualità più spiccata. Il mio sogno di felicità.
Passioni, piaceri, paure: Umiltà e modestia. La mia ossessione. Ridere e conversare ama-
Leggere biografie di per- bilmente con gli amici.
confessione d’autore
Lo stato attuale del mio spi- sone affascinanti che han-
liberamente ispirata rito. no cambiato il mondo. Come intitolerei la mia bio-
al questionario di Proust. Espansivo. grafia.
Cos’è per me la moda. La mia vita nelle trincee di
Quel che apprezzo di più nei Pulizia e semplicità. L’ele- chiffon.
miei amici. ganza è rifiuto.
Lealtà. La cosa più preziosa che pos-
Le qualità che cerco in un a- siedo.
La mia fonte di ispirazione. bito. Le fotografie di mia non-
La natura e la fede sono Semplicità delle linee e na.
i miei fondamenti. qualità artigianale.
Il mio motto.
Cos’è oggi l’eleganza. Se posso aiutare qualcuno
Tutto è permesso. la mia vita non sarà inutile.

La mia icona di stile. Chi metterei sulla copertina


Michelle Obama. di Vogue Italia.
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. André Leon Talley, 69 anni, è una


Blu navy. 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.


L’animale che preferisco. ca, è stato uno dei primi afroame-
L’elefante. ricani ad aver ottenuto un ruolo di
prestigio nel fashion system. La
sua storia, dalle origini modeste
Quel che detesto più di tutto. nell’epoca della segregazione del
Unghie sporche e piedi Sud al periodo a fianco di Diana
non lavati. Vreeland, fino all’ascesa nell’olim-
po della moda e il conseguente suo
impegno nel promuovere i giovani
Quel che c’è di male in me. stilisti afroamericani, è raccontata
Non c’è alcun male in me. nel docufilm The Gospel According
to André. Diretto da Kate Novack,
Il talento o attributo fisico che raccoglie le testimonianze di amici
e colleghi, tra cui Tom Ford e Marc
vorrei avere. Jacobs, ed è stato presentato in an-
Fare surf o scalare mon- teprima per l’Europa alla scorsa
tagne. Barcelona Fashion Week.

54 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 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.
solido e nuovo tra l’arte e un pubblico generico, tra la quadri da milioni di dollari con prodotti di massa come
moda e la subcultura; volevo che tra vent’anni anni un magliette e portachiavi.
artista potesse guardare indietro avendo la sensazione I due sono amici da anni, e da anni guardano al lavo-
che tutto è possibile. Mi sono fatto carico della respon- ro l’uno dell’altro con ammirazione, influenzandosi a
sabilità di sapere che come vivo e lavoro oggi condi- vicenda. Hanno deciso di collaborare realizzando una
zionerà l’ampiezza e la profondità delle scelte creative serie di mostre nelle gallerie di Larry Gagosian: il ci-
delle future generazioni di artisti. Diciamo che sto se- clo, cominciato a Londra a febbraio con l’esposizione
minando per loro». “Future History”, è arrivato in estate a Parigi (“Techni-
«Interpretare la società contemporanea, darne una let- color Two”), per concludersi pochi giorni fa con “Ame-
tura è al centro della mia ricerca. Takashi e io siamo rica Too” nella sede di Beverly Hills. Obiettivo, come
estremamente consapevoli dell’era nella quale viviamo raccontano in questa intervista doppia a Vogue Italia:
e cerchiamo costantemente di tradurla nel nostro lavo- evidenziare i numerosi vasi comunicanti tra i loro ec-
ro. Proprio questo ci ha fatto incontrare». centrici linguaggi.
Indicati da “Time” tra i personaggi più influenti della
nostra società, Virgil Abloh e Takashi Murakami condi- Lavorate con grandi squadre, come in una bottega ri-
vidono una capacità diabolica di fondere categorie con- nascimentale. Quanto è importante questo aspetto col-
siderate distinte, se non opposte, e così di interpretare laborativo?
e trasformare il contemporaneo. Americano di origini Takashi Murakami. Da sempre ho sentito che la figu-
ghanesi, Abloh, 38 anni, ha una laurea in ingegneria e ra dell’artista solitario non faceva per me, mentre l’idea
una in architettura, ed è forse questa diversità dal mon- della bottega mi sembrava molto più congeniale. Così,
do moda ad avergli regalato la peculiare abilità di en- ho cominciato a praticarla e la mia l’ho chiamata Kaikai
trare in sintonia con ciò che i diversi pubblici vogliono: Kiki, che significa eccentrico e meraviglioso. Sono ter-
creative director del rapper Kanye West, dj, fondato- mini che venivano tradizionalmente usati in riferimento
re dell’etichetta Off-White, Abloh è l’“araldo del cool all’artista Kano Eitoku, della Kano School, una bottega
immediato” (come lo definiva su queste pagine Angelo specializzata in arte decorativa fondata prima del pe-
Flaccavento nel numero di maggio), allo stesso tempo riodo Edo. Questo sistema collaborativo non era però
direttore artistico per il menswear di Louis Vuitton comune nell’arte contemporanea o nell’arte giapponese
e creatore per Ikea di una linea di arredo dedicata ai al tempo del mio debutto; ho dovuto costruirlo e lottare
millennials in uscita nel 2019. Di Takashi Murakami si per affermarlo. Spero che viva se non per 300 anni come
è detto tutto: 56 anni, è il più noto artista giapponese, la scuola di Kano, almeno per 100 come la Disney!
miscelatore di cultura alta e bassa, oriente e occidente, Virgil Abloh. La nostra pratica condivisa è legata a ciò
tradizione e manga. Ha unito il concetto di factory ra- che produciamo. Grandi équipe sono assolutamente vi-
dicato nell’artigianato giapponese, quello di Warhol e i tali per lavorare a determinate scale di grandezza, sia
sistemi produttivi del cinema di Hollywood, arrivando 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.

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

64 Front vogue.it n. 819


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.

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

“BeBlade. Bebe Vio e la sua squadra” (Piemme, 2018), Si chiedono come mai salto la scuola per fare tanti viag-
questa ventunenne – che, quando entra in una stanza, gi. È bello vivere così, in due mondi totalmente diversi.
emana una forza tale da cambiare in meglio persino i È difficile mantenere l’identità di supereroina segreta?
tratti delle piante che la circondano – è anche una stu- Cominciano a sgamarmi: quando usciamo a cena, la
dentessa universitaria. gente mi ferma o mi chiede di fare una foto insieme.
Quando è successo due volte nella stessa sera, le ragazze
Come mai ha deciso di frequentare un’università ame- mi hanno guardata storta. Dopo un mese si sono in-
ricana a Roma? sospettite e mi hanno trovata su Instagram! Una sera
Prima di venirci ho imparato l’inglese e ora sono felice mi hanno detto: «Non ci hai detto che eri a cena con
di respirare un clima internazionale e di studiare in que- Obama!».
sta lingua, staccata da tutto. All’inizio mi hanno messo Queste sue due vite sono in conflitto con lo sport?
in casa con una ragazza boliviana, una del Madagascar Non tutti i professori accettano che debba saltare delle
e una bulgara che non sapevano niente di me. Quando lezioni. Abbiamo fatto gli europei la settimana scorsa e
sono arrivata mi hanno chiesto: «Ma che razza di gambe prima siamo stati in ritiro, nove o dieci ore al giorno
hai?». Essendo giovani e sapendo che vai a vivere con tra Pisa e Roma. Non c’era tempo per le lezioni o per
loro, non si fanno problemi a fare domande. Mi piace studiare. Ora tra l’altro sto seguendo un corso impegna-
questo modo di fare schietto. Mi sono presentata alle tivo: “Race, Gender and Society”. La prima lezione era
ragazze come Beatrice, non mi conoscevano come Bebe. sull’approccio maschilista nel cinema e nell’arte. Mi so-
Adesso mi chiamano B. perché Beatrice non riescono a no innervosita subito.
dirlo. Da un lato sono B., dall’altro Bebe. Per loro io va- Lei è sbocciata in un momento in cui questi temi sono
do in palestra, viaggio spesso, ma non sanno delle gare. in fase di ribaltamento, nella cultura popolare e nello

68 News vogue.it n. 819


sport; penso alla forza dello statement di Serena Wil- forza. Sono gasatissima, è faticoso ma bello. Detto ciò,
liams all’US Open (ha dato del sessista al giudice Ra- all’ultima sfilata sono arrivata in ritardo e sono rimasta
mos, ndr). Anche lei è un modello per molte ragazze. fuori. Mi hanno fatto il cazziatone.
Ho sempre avuto esempi femminili su cui basarmi. Mia Cosa le piace di più di questo intrecciarsi di generi?
madre è un mio idolo, e sul lavoro ho conosciuto tante Mi diverto. La scherma, l’università e l’associazione
donne che ammiro: Maria Grazia Chiuri per tutti è il (l’art4sport è l’onlus ispirata alla storia di Bebe e vede
boss dei boss, per me è “zia scialla”. È la prima donna a lo sport come terapia per il recupero fisico e psicologico
capo di Dior in un mondo pieno di discriminazione. La di giovani portatori di protesi, nda) sono le mie passio-
prima italiana in un mondo di superfrancesi. Sta facen- ni fisse, il resto lo prendo come sperimentazione. Tutta
do cose pazzesche... come la maglietta che diceva “We la mia famiglia mi sta aiutando. Papà è un supereroe.
should all be feminist”. E adesso nell’ultima collezio- Mamma segue noi figli, la casa, il cane malato, viene ai
ne ha aperto con uno statement preciso: “C’est NON miei eventi. Ci divertiamo e l’associazione spacca.
NON NON et NON !”. Ha rivoluzionato un brand. Come vive il mondo della comunicazione e dei social
È la sua prima volta su Vogue Italia. Cosa la attrae media? È cambiato anche il suo modo di comunicare?
della moda, e come vi è arrivata? Sono del ’97, all’inizio non volevo Facebook né Insta-
L’incontro fatale è stato quello con Maria Grazia, lei ha gram; mia sorella ha cinque anni meno di me e ci è cre-
voluto tre schermitrici alla sfilata P/E 2017 (Bebe, Arian- sciuta. Mia cugina, nove anni, è nata con l’iPad in mano,
na Errigo e Rossella Fiamingo, nda) per rappresentare usa il mio profilo Instagram per mettere like ai calciato-
la donna lottatrice, ma elegante. Ha portato la scherma ri. Tutto cambia velocemente. Io mi diverto ma so che,
nella moda, dove lo sport non era ben visto. Come modo anche se hai tanti follower, non significa che nella vita
di fare siamo un po’ mascoline. Io non sono un prototipo hai spaccato. Non vivo con il cellulare in mano, conosco
di bellezza, ma la gonna corta la metto comunque per far i suoi lati positivi e negativi, e leggo anche gli haters che
vedere la protesi. Mi mostro, insomma, e a furia di insi- hanno creato pagine contro di me; ma ho capito come
stere, nei talk, negli spettacoli adesso sono addirittura gli prenderla, perché so che quello non è il mondo vero.
altri che mi chiedono di farlo. C’è una certa bellezza in Chi scrive certe cose, nel mondo vero non te le dice in
questo. Le cose stanno cambiando. Gli sponsor cercano faccia. Anche se io lo preferirei. •
stylist deborah de groot. hair simone prusso @ atomomanagement using davines. make-up laura dominique @ streeters.

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

In un periodo in cui molti artisti stanno abbandonando festa, dipingono, discutono del proprio lavoro.
New York in favore di spazi di lavoro più economici a «Siamo come i diversi rami di uno stesso albero», dice il
Città del Messico e nel Nord dello Stato di New York – ventiduenne Adrian Schachter, che condivide lo spazio con
e c’è ancora chi piange la morte della scena artistica del il fratello minore Kai. Figli del mercante d’arte, curatore e
Lower East Side –, si potrebbe fare l’errore di pensare artista Kenny Schachter e dell’artista diventata poi fashion
che la Grande Mela abbia perso il suo smalto. designer Ilona Rich, sono cresciuti in una casa in cui non
Invece proprio nel cuore della Bowery, un gruppo di esistevano pareti bianche: ogni muro, compreso quello del-
artisti e curatori, figli d’arte, sta sperimentando nuove la nursery, era ricoperto dalle opere d’arte della collezione
strade. Condividendo gli spazi di una grande casa-studio dei genitori, e i litigi erano incentrati sui pezzi che il padre
– comune, sì, ma che lascia a ciascuno il proprio spazio avrebbe voluto vendere. «Una volta Kai ha fatto una scena-
– a due passi dal New Museum, il curatore Caio Twom- ta quando mio padre ha venduto un quadro di Dan Colen
bly, il fotografo Rafik Greiss e gli artisti Kai e Adrian fatto con escrementi d’uccello, che era stato nella sua stanza
Schachter hanno dato vita a un fluido incubatore crea- per anni», ricorda Adrian.
tivo: uno spazio in cui abitano, passano il tempo, fanno Il suo lavoro – che interviene sull’artificialità di supporti

vogue.it n. 819 News 77


plastici con pastelli umidi e strati di colore acrilico spessi 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.
anche 15 centimetri che sembrano sculture – è gioco- te di intere generazioni, non fa che aumentare la loro
so ma complesso. Mentre quello di Kai è sperimentale motivazione. Come sottolinea Kai, «le persone entrano
nell’affiancare pigmenti e pastelli con strati di pittura a in galleria determinate a odiare il mio lavoro, pensando
olio per raffigurare – in modo astratto, o più letterale che le opere sono esposte lì solo per via di mio padre.
– omaggi alla pubblicità, alla clip-art e alla segnografia. Questo finisce per diventare un ottimo stimolo per di-
«Mi sento ispirato quando sono immerso nella natura e mostrare che faccio sul serio».
posso osservare la bellezza e le forme create da madre In tre anni di vita insieme, i quattro hanno fatto sei mo-
terra», dice Kai, «ma trovo anche stimoli negli annunci stre collettive a New York e una a Londra, tutte curate
pubblicitari sui bidoni della spazzatura e nelle immagini da Caio. «Essendo così giovane, è difficile che io pos-
pop e colorate appiccicate di fianco a una qualsiasi bo- sa essere esperto in qualcosa», scherza il curatore ven-
dega di New York». tiduenne, nipote di Cy Twombly e Tatiana Franchetti.
Avendo vissuto tutti in modo intermittente tra Londra e Nonostante la discendenza, l’arte non l’ha affascinato
New York, ai membri del collettivo viene spontaneo fare da subito. Ripensando alla sua infanzia a Roma, ricorda
il paragone tra le due più importanti capitali dell’arte quando una volta, giocando a calcio, ruppe la cornice
contemporanea. «La scena artistica a Londra è molto di un piccolo lavoro di Yves Klein. «Mio padre non la
più elitaria», dice il fotografo ventenne Rafik Greiss, prese troppo bene», e poi aggiunge: «Paradossalmen-
«New York è molto più aperta e attraente per i giovani te ho cominciato a interessarmi davvero all’arte dopo
emergenti». Cresciuto in Egitto durante la rivoluzione, aver lasciato il nido domestico, quando non mi circon-
una madre artista, Rafik racconta come la turbolenta dava più». Smanioso di usare la sua conoscenza, i suoi
atmosfera politica sia stata determinante nella scelta di contatti per entrare in relazione con artisti emergenti e
usare la fotografia. «Quando era impegnata in uno dei presentarli al pubblico, Caio ha curato collettive – mol-
suoi progetti, mia madre mi trascinava con sé in con- te includono anche Kai, Adrian e Rafik – che hanno ri-
testi disagiati come gli ospedali psichiatrici, e quando è unito le opere di emergenti ma anche di già affermati
scoppiata la rivolta mi ha portato fuori a fotografare le come Oprah Shemesh, Lily Gavin e Luca Grottoli. E a
strade invase dai gas lacrimogeni, dove venivano sparati proposito del collettivo, dice: «A casa nostra, ognuno è
colpi di pistola», racconta. In quel momento ha davvero motivato in tempi diversi: battere la fiacca non è quindi
capito il potere della fotografia: «Per la prima volta sono un’opzione possibile. Ci stimoliamo l’uno con l’altro, in
stato spinto fuori dalla mia comfort zone, e questa men- una sana forma di competizione. Stiamo imparando a
talità continua a ispirarmi nel lavoro». capire l’arte tutti insieme, e uno dall’altro». •

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

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

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

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
Un legame speciale con il nostro Paese in Venice: Recipes from My Home”, edito da Bloomsbury, e sta la-
vorando ad alcune cooking classes per far scoprire il volto edibile
accomuna la storia e il successo di SKYE
della laguna attraverso liturgie tratte dalla propria quotidianità. An-
MCALPINE e MIMI THORISSON che i workshop che Mimi, nata a Hong Kong, cresciuta tra Parigi e il
e dei loro ricettari di nuova generazione. Sud della Francia e ora cittadina torinese, organizza sono avventure
culinarie che riflettono lo stile del suo blog Manger, curato a quattro
di LAURA TACCARI 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: al meglio qualsiasi pietanza –, libro e mostra vengono a
The Story of Food in Photography”. Poi l’idea è lievita- proposito per ricordare quanto il tema fosse già caro ai
ta e l’autrice Susan Bright (49 anni, australiana in sede pionieri della fotografia: come si vede nelle nature morte
stabile a Parigi) lo ha tradotto in una mostra realizzata di gusto seicentesco realizzate dal britannico Roger Fen-
dalla Aperture Foundation di New York che a dicembre ton (1819-1869), in perfetto contrasto con le indagini, al
approda al Foam, il museo della fotografia di Amster- limite dell’astrazione, sulle forme di frutti e verdure di
dam (dal 20/12 al 6/3/2019). Rare, golose, strane, sor- Edward Weston negli anni Venti. Nell’oggi tutto a co-
prendenti, glam: le foto che Bright ha selezionato sono lori, in cui chiunque può rendere immortale l’effimero
la più esauriente esplorazione ragionata, non semplice edibile tramite pixel, le sgargianti policromie analogiche
catalogazione, di come il cibo sia un soggetto che con- di Nickolas Muray già annunciavano il kitsch contempo-
tinuamente ispira fotografi dalle più diverse poetiche. raneo di Martin Parr. Mentre le nature congelate (lette-
E se la food photography è oggi epidemica – complici ralmente) o marcescenti di Irving Penn aggiungono un
hashtag come foodporn, softbrunch, smoothe, carboidra- brivido d’autore, un “memento mori” che Nobuyoshi
tiviamo e applicazioni come SnapFood per immortalare Araki ha moltiplicato all’infinito via Polaroid. •

86 News 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- Victoria: Be’, sì ci tiene, è il classico signore in comple-
miano David, frontman dei Måneskin, una versione ri- to e camicia su misura. Ma non ho copiato da lui. Negli
veduta e corretta del glamour anni Settanta, corredato anni ho attraversato periodi dark, punk, hippie. Quando
da stati lisergici e sessualità psichedelica, dovrà trovare abbiamo cominciato a suonare, poi, è lì che ci siamo
un’altra casella in cui sistemarli. Nel gender fluid del Ter- influenzati a vicenda.
zo Millennio, questa band di teenager romani lanciati da Dove acquistavate gli abiti all’inizio?
X Factor, capaci di tenere saldamente la scena e fare sold A Porta Portese: camicie tutte colorate, dalle fantasie
out in meno di sei ore al primo tour, ha infatti la consa- bizzarre, un po’ rétro. Poi ci siamo passati un po’ di tut-
pevolezza che per dare il massimo bisogna essere lucidi: to. Thomas metteva le giacche di Damiano. Damiano le
«Non cadiamo nello stereotipo della rockstar alcolizzata camicie di Ethan. Tutto è intercambiabile tra noi.
e drogata. Il messaggio che vogliamo diffondere con la Ora invece avete una stylist personale.
nostra musica è l’esaltazione dell’uomo tramite la propria Sì, ha imparato a conoscerci e su quattro cambi che por-
libertà. La creatività viene da una mente sana. Allenata. ta tre li azzecca. Ma non siamo esperti di moda, e infatti
Lucida. Il cervello è una macchina che deve avere gli in- le chiediamo sempre: di chi è questo o quell’altro capo?
granaggi a posto e la droga una zozzeria. Gli artisti che Che idea avete del gender fluid e dei diritti Lgbt?
ne hanno fatto uso, come Amy Winehouse e il club dei La sessualità è parte di una persona, ognuno è libero
27, sono dei grandissimi con una sola nota stonata. Noi di esprimersi senza paura fino a quando non rischia di
stiamo facendo una strada dove mettiamo cuore e anima, limitare la libertà dell’altro.
qualsiasi cosa ci ostacoli la evitiamo». Damiano, cos’è la bellezza?
Gli obiettivi rendono bella una persona. Lo spessore, la
Questione di stile (e di look). Damiano si è mostrato con sensibilità, la correttezza, l’empatia. Dare amore ed emo-
maglie a rete, tacchi a spillo e movenze da peep show zioni positive agli altri è bellezza. Amore non in senso
londinese ma anche gipsy, insieme agli altri componenti romantico, piuttosto quello familiare che provo per Vic,
della band, adorno di accessori, collane feticcio, gioielli. Ethan, Thomas, i miei amici, mio fratello, la mia gatta.
«A volte rubo a Victoria gli orecchini che lei non mette Come e dove trovate la vostra creatività?
più». Ma nel nuovo video “Torna a casa”, ricco di atmo- Siamo ultrastimolati in questo periodo. Stare in tour in
sfere sognanti e stucchi barocchi, già cambia personaggio luoghi diversi aiuta a buttare giù melodie nuove. Nel
(La regia è affidata all’immaginario magico e fanciullesco nostro lavoro la cosa più bella è lo scambio con le perso-
del videomaker Giacomo Triglia, il set è Villa Arconati, ne. Quando vedi qualcuno che ti guarda come se non gli
alle porte di Milano). Garbato nel suo smoking bianco sembrassi vero ti trasmette tanto. Diamo e riceviamo.
le foto di questo servizio sono state scattate sul set di vevo live.

disegnato da Stella McCartney, Damiano, con i suoi 19 Nel vostro ultimo disco c’è un nome che ricorre in quasi
anni, è l’“anziano” del gruppo e l’autore dei testi; seguo- tutte le canzoni: “Marlena”.Chi è?
no Victoria, la bassista, mezza danese, a lei si deve il nome Marlena è la nostra idea di giovinezza. Gli abbiamo dato
del gruppo, che significa “chiaro di luna”; Ethan, il batte- un corpo, un volto e una voce per renderla più potente.
rista dall’estetica cherokee e nome straniero «solo perché Noi viviamo tutto con il sorriso e con ingenuità, come
mia mamma era in fissa con Ethan Hawke»; e Thomas, il se fossimo su una grande giostra sulla quale divertirci.
chitarrista adolescente che fino al prossimo anno avrà bi- E divertendoci vogliamo essere ricordati dalle persone
sogno degli speciali permessi per minorenni per lavorare per aver diffuso un messaggio positivo.
nel mondo dello spettacolo. Damiano, sul palco ti emozioni?
Sto in una mia bolla. Mi piace esibirmi. Mi stacco dal-
Come nascono le vostre scelte di stile? la realtà ed è un momento molto personale. Sul palco si
Damiano: Chiedi a Vic che è l’esperta. Suo papà è sem- piange, si ride ed è pazzesco vedere altri che si emoziona-
pre vestito per bene, un precisino. no per la stessa cosa, anche se non ci si è mai incontrati. •

  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.

89
I L P E RSO N AG G I O

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, 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

Noi che facciamo “X Factor” ci sentiamo dire spesso una passaggio di elefanti interessati solo alla musica. Noi ab-
cosa bella: questo programma racconta un paese abitato biamo scelto quest’ultima strada, la più rischiosa: il nostro
da ragazzi che non si vedono quasi mai in tv. Ragazzi evo- talent per essere autentico doveva essere fatto da gente
luti, creativi, colti, preparati, coraggiosi. Ragazzi arrivati che voleva solo scrivere canzoni o cantarle. Gente che
da lontano oppure italianissimi anche se non lo sono per dalla tv ci passava, ma con l’idea di uscirne al più presto.
la legge. Ragazzi gender fluid. Ragazzi che sognano anche A cominciare dai giudici. Per questo Morgan funzionava:
se a volte il futuro fa paura. Guardandoli, allora, il pub- un artista geniale che metteva in scena senza censure la
blico si fa domande per noi fondamentali: «Ma davvero sua lotta contro la tv. Come Fedez, Mika, Manuel Agnelli,
questo ragazzo ha 16 anni? Ma come lo hanno trovato?». Asia Argento. Tutti elefanti che volevano diventare cap-
Ora, io di questo vorrei parlare: di come lo abbiamo tro- pelli. E tutti con lo scopo di trovare là fuori ragazzi con
vato e di cosa non abbiamo ancora fatto per lui. un talento eccezionale e basta.
Sette anni fa, quando mi è venuto in mente di portare Quel ragazzo di 16 anni l’abbiamo trovato così, andando
“X Factor” da Rai 2 a Sky, non avevo mai visto un ta- a caccia di elefanti. Ma visto che se un produttore scrive
lent show. Pensare che una corazzata mainstream potesse bene del suo programma si compiace inutilmente, voglio
funzionare nella nicchia della pay era un azzardo. Ma se dire anche quello che non va. Per fare sì che questa caccia

foto courtesy fremantlemedia italia.


dovessi ridurre il mio lavoro a un’immagine, ne userei una si mantenga autentica e non diventi maniera, dobbiamo
del “Piccolo Principe”: il serpente che inghiotte l’elefante prenderci fino in fondo una responsabilità: il futuro di
e diventa un cappello. Ecco, io per lavoro faccio cappelli. quel ragazzo. Sono anni che ragioniamo su questo. Su
Cerco sempre di mettere nel contenitore un contenuto cosa faranno non solo i vincitori, ma tutti i più bravi, ori-
che viene da altri mondi per trasformarlo. E per farlo ginali, delicati, fuori dal mondo protetto di “X Factor”. Ci
cerco di portare al cinema, in tv (e su Netflix, Instagram, aiutano i giudici, e gli agenti, i manager e i discografici,
tutti i media) artisti e prodotti che creino caos nel siste- ma non basta. Sento che dobbiamo fare ancora tanto. An-
ma, evolvendolo. Sette anni fa, da analfabeta dei talent, cora una volta “X Factor” è a un bivio. E, perché l’elefante
ho capito che un programma come “X Factor” è sempre non finisca digerito dal serpente dello showbiz, anche sta-
a un bivio. Può essere tv normale o un luogo perfetto di volta dobbiamo scegliere la strada più rischiosa. •

90 News 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


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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 moderno e contemporaneo della città. La bottiglia
inconfondibile: la bottiglia è bella da vedere, per il design Disaronno e il classico Monogram Trussardi si sono
elegante, e da toccare, per il vetro martellinato. Il suo tinti di pennellate di colori saturi nelle tonalità fucsia,
aroma inconfondibile è immediatamente riconoscibile: verde e azzurro. Anche il levriero, simbolo dell’azienda
un piacere da gustare non solo on the rocks ma anche di lifestyle italiano, si colora delle stesse nuances,
nelle molteplici versioni mixate. Per questo, Disaronno per un risultato pop, moderno, contemporary, in
è il liquore italiano più bevuto al mondo. Un oggetto pieno stile Trussardi. Tomaso Trussardi, amministratore
di design, un’icona di stile che, per le feste di fine delegato dell’omonima azienda, racconta così questa
anno 2018, torna alla grande sulla scena con la sesta speciale collaborazione: «La storia di Trussardi è fatta
esclusiva limited edition, #DisaronnoWearsTrussardi, di innovazione, scoperta, contaminazione. Vestire
all’interno del progetto “Disaronno Icon”, nato sotto l’iconica bottiglia Disaronno, oltre a consolidare il
la direzione artistica di Vogue Italia. Di edizione in legame fra due aziende che rappresentano l’italianità
edizione, la silhouette viene “vestita” dalle più famose nel mondo, va a sottolineare che Trussardi continua
fashion griffe italiane. La nuova limited edition segna a essere un brand lifestyle a 360 gradi». Gli fa eco
l’incontro ai vertici della creatività tra due eccellenze Augusto Reina, amministratore delegato di Illva Saronno
del made in Italy e dell’Italian lifestyle, Disaronno e Holding: «Disaronno è apprezzato in tutto il mondo
Trussardi, legate dalla condivisione di valori comuni, come un simbolo dell’Italian style e siamo orgogliosi
quali tradizione e innovazione, eleganza e classe. di presentarci con una veste raffinata ed elegante
Allora il risultato diventa, ancora una volta, un oggetto che riflette il nostro animo contemporaneo». Non resta
da collezione grazie alla rivisitazione di Trussardi che, quindi che festeggiare l’arrivo del nuovo anno con
assieme all’iconica bottiglia, ha reinterpretato i codici #DisaronnoWearsTrussardi e il cocktail Disaronno
stessi del brand. Un’ispirazione che arriva dalla street Sparkling, dal gusto unico e dal colore dorato: 1 parte
art, dai graffiti e dai murales che prendono forma di Disaronno e 3 parti di prosecco, con l’aggiunta
nelle strade di Milano, espressione dello spirito più 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 cofano anteriore, non fa passare inosservate le armoniche forme
stile, meglio, lo esprimono aggiungendo carattere alla personalità iconiche. La finitura color rame dei cerchi in lega da 16” cattura
di chi lo fa proprio. Molto più che dettagli secondari, non l’attenzione anche quando l’auto è in movimento. I nuovi sedili
certo semplici comprimari del look, ne sono sempre più spesso in tessuto gessato, i tappetini firmati “Collezione” e l’esclusiva
i veri protagonisti. Questo stesso concetto si può applicare alla plancia, anch’essa decorata da una linea di bellezza color rame
definizione dell’immagine di un’auto. Come nel caso della nuova che riprende i toni della carrozzeria, sono tutti elementi di stile che
500 Collezione, sia nella versione cabrio con soft top grigio che creano il fil rouge tra interni ed esterni. A bordo, per non perdere
in quella berlina con tetto in vetro di serie, capace di farsi notare nemmeno un minuto di condivisione o di informazione, è disponibile
sulla scena metropolitana non solo per il suo “vestito” declinabile in tra le dotazioni opzionali il sistema di infotainment Uconnect™ 7”
una versatile gamma di colori e nello speciale bicolore “Brunello”, HD LIVE, con predisposizione Apple CarPlay e compatibilità con
ma anche e soprattutto per la sua libertà di esprimere, attraverso Android Auto™. Infine, a siglare la serie speciale la firma cromata
ogni singolo dettaglio, un’estetica contemporanea. La raffinata Collezione sul portellone posteriore. E la nuova 500 Collezione
linea di bellezza color rame, con la modanatura cromata sul 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.
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.

Ricapitolare il percorso di un brand storico come Empo- cominciato. La scelta di Linate è stata naturale: l’hangar
rio Armani non è facile, occorre il distacco del tempo e con il logo c’era già.
l’amore di chi l’ha creato. Per questo, l’indomani di una Perché legare Emporio a un hangar aeroportuale.
sfilata-evento come quella tenuta all’hangar dell’aero- L’aeroporto cattura lo spirito aperto e globale di Em-
porto di Linate e 37 anni dopo l’apertura del primo Em- porio Armani e la sua radice milanese. Linate è uno dei
porio, abbiamo chiesto di farlo proprio al suo fondatore. simboli di Milano perché parla dell’internazionalità,
Perché scegliere di sfilare in un aeroporto. dell’innovazione di questa città che da sempre è riferi-
Dopo le sfilate a Parigi e a Londra, era giunto il mo- mento estetico ed etico del mio mondo. Volevo un luogo
mento di fare qualcosa di importante per Emporio Ar- che fosse sinonimo di viaggio come occasione di incro-
mani a Milano: un ritorno alle origini, là dove tutto è cio, avventura, libertà. Gli stessi valori del marchio.

vogue.it n. 819 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. pensato che quel disegno, fatto in fretta, potesse essere
All’inizio degli anni 80 realizzai che avrei potuto rivol- un segno così travolgente.
germi a un pubblico potenzialmente molto vasto, che I luoghi più emblematici di Emporio Armani.
non era lo stesso del mio prêt-à-porter. Ebbi così l’in- Di certo via Broletto, dove dal 1985 è visibile il grande
tuizione di offrire un prodotto facile e accessibile ai più murale, diventato parte dell’arredo cittadino e dell’im-
giovani. Il denim all’epoca era la parte centrale dell’of- maginario collettivo. Via Durini, dove aprii il primo
ferta. Nessuno stilista aveva mai pensato di fare jeans. Emporio nel 1981. L’hangar di Linate sul quale svetta
Fui criticatissimo per questa scelta considerata azzarda- il logo dal 1996, visibile ai viaggiatori in arrivo e in par-
ta. Ma il pubblico e il tempo mi hanno dato ragione. tenza, ma anche via Bergognone con l’Armani/Teatro,
Perché il nome Emporio. iconica sede delle sfilate, e il concept store Armani/Man-
Mi piaceva l’idea di un luogo in cui si potesse trovare zoni 31 con l’Emporio Armani Caffè.
di tutto e a un giusto prezzo. Quell’idea è ancora valida Il momento topico del brand, dagli esordi a oggi.
oggi: per me Emporio è un contenitore di capi, accessori Non uno, ma molti momenti: dal murale a “Emporio
e idee, destinato a un pubblico trasversale, cosmopolita Armani Magazine”, dalla campagna con David Beckham
e metropolitano. a quella scattata dal fotografo Boo George, fino alla
Perché un aquilotto come simbolo. sfilata a Linate. Un discorso continuo, di apertura al
Nacque per caso. Mi viene ancora in mente il momen- nuovo, alle idee, alla città. Una lingua che cambia, con
to in cui lo disegnai, mentre ero al telefono, a seguito indubbia coerenza.
di una richiesta del mio socio Sergio Galeotti che aveva Come avviene la scelta dei testimonial.
l’urgenza di definire un logo. Buttai giù lo schizzo, senza Mi piacerebbe dire che nasce tutto da uno studio atten-
troppo pensare, e quel simbolo di irraggiungibilità lan- to. In realtà seguo molto l’istinto. Mi guardo intorno e
ciò il mio nome nell’olimpo dei giovani. Non avrei mai cerco di individuare volti che incarnino la filosofia dei

126 Code vogue.it n. 819


#KIKOSPARKLINGHOLIDAY kikocosmetics.com

NEW
SPARKLING HOLIDAY
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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 Un aneddoto legato a Emporio Armani mai raccontato.
energia e la loro personalità. Ricordo il giorno in cui venne montata la scritta con l’a-
Vent’anni dopo è tornato il magazine di Emporio Ar- quila sull’hangar. Fu divertente sentire i commenti all’i-
mani, un giornale di carta nell’era in cui i brand vanno niziativa che mi giungevano man mano. Alcuni stranieri
online. credevano addirittura che avessi comprato l’aeroporto.
La carta stampata è sinonimo di qualità, di ricerca, di L’elemento più fondante del dna di Emporio Armani.
invenzione. Il magazine diventa spazio di riflessione, og- L’inclusività, che è già nel nome.
getto da collezione e dura nel tempo. La comunicazione Il luogo preferito di Giorgio Armani a Milano.
digitale è volatile. Cattura l’attenzione per un momento Brera, con la sua vivacità. Il quartiere in cui abito, al cen-
ma non lascia traccia. 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 che raccontano storie, anche l’iconico gancio Il gancio,
Herno: l’acqua impetuosa dell’Erno che ba- cui Herno affida l’immagine ha al centro so- simbolo
gna Lesa, sulla sponda piemontese del Lago lo il prodotto e lascia ciascuno libero di crea- del brand,
Maggiore, memoria e ragione di un’azienda re la propria narrazione. Ma è insieme anche
è «un omaggio
ricca di storia e identità, che dal fiume nasce «un omaggio al minimalismo concettuale,
e prende il nome – l’acca davanti è un vezzo, all’arte di Pistoletto e al Giappone, che si in- al minimalismo
preludio della vocazione all’internazionalità – treccia con la storia di Herno, ne contamina concettuale,
e che oggi celebra i 70 anni. lo stile». all’arte
Nell’umido clima del lago ripararsi dalla di Pistoletto,
pioggia era una necessità, ricorda Claudio L’arte contemporanea e il Giappone hanno al Giappone».
Marenzi, 56 anni, figlio del fondatore Giu- giocato entrambe un ruolo cruciale nella cre-
seppe e alla guida del gruppo dal 2005: so- scita dell’azienda piemontese. Grazie a una
lide radici montane e orizzonte cosmopolita, lunga liaison d’affari e amicizia con la fami-
un mix di visione e pragmatismo la sua cifra. glia Okuda, nata nei ’60 quando il paese ini-
«Dal 1948 Herno lavora sull’impermeabile. zia a guardare alla moda europea, Marenzi è
Da allora siamo attenti alla performance, alla stato infatti tra i primi italiani a sbarcare con
funzionalità. Il nostro dna è fatto di manifat- una boutique a Osaka: così oggi il Giappone
tura», racconta. La fabbrica che Giuseppe è il mercato principale. «L’architettura di Ta-
Marenzi avviò in un opificio ottocentesco sul dao Ando e quella dei templi di Kyoto hanno
fiume, trattando il tessuto di cotone con l’o- influenzato la mia estetica. Lì mi fermo a fare
lio di ricino per renderlo idrorepellente, ora è ricerca, è una fucina incredibile di novità».
un marchio luxury dal respiro internazionale, La passione per l’arte contemporanea, poi, in-
con flagship stores in Europa, Giappone e tesse tutto il mondo Herno: dalla sede di Lesa
Usa, cui si guarda per le cappe di nylon luci- ai negozi, all’immagine, e si è irradiata nelle
do, di ciniglia, di jersey, i piumini con l’incon- forme di mecenatismo per i giovani designers,
fondibile a-shape, i cappotti e i city parka di nelle collaborazioni con le scuole di moda
cashmere, le lavorazioni double. «importanti per l’innovazione», nel premio
Herno al Miart dedicato alle gallerie – «per-
Nel tempo di mezzo, discese e risalite. «Tra ché nell’arte contemporanea è importante an-
il 1990 e il 2005 producevamo per le mai- che il contenitore». Oggi la priorità è la ricer-
sons francesi. Il marchio era appannato, ma ca, il rinnovamento dei processi produttivi, la
con un bagaglio enorme di esperienza, di co- sostenibilità «con il primo capo che mappa il
noscenza. Sono ripartito dal nome, forte di proprio impatto ambientale. I nostri siti sono
anni di storia manifatturiera. Oggi siamo tra autonomi per l’energia, i tessuti ecosostenibi-
i pochi a gestire ogni processo, a sviluppare li, ma ora serve tracciare l’inquinamento della
le idee e realizzarle internamente. Idee che produzione di un capo per migliorare».
nascono prima dalla funzione, dalla doman-
da: a cosa serve questo capo?». Così si sono Famiglia – «il consiglio di mio padre? Non
inventati l’irrinunciabile – «e molto copiato» crogiolarsi sugli allori» –, radici, l’azienda co-
Piumino a-shape di tessuto
– piumino ultraleggero ma caldo «da usare me fucina creativa: è tutto distillato nel nuo- jacquard personalizzato, Herno
sotto la giacca, che sostituisce il golfino e sta vo volume biografico “In flumine est vita” 70° Since 1948, Anniversary
in tasca o in borsa», o la collezione Laminar, (TeNeues) e nella collezione celebrativa con Collection A/I 2018-19.
progetto di ingegneria sartoriale che usa la il trench e il piumino griffati con i pensieri
tecnologia dell’active sport nell’urbanwear, dello staff, omaggio allo spirito di bottega
coltivando in anticipo un trend ora diffuso: dell’azienda, alle persone che vi lavorano da
«È nata da una passione personale. Scio da 40 anni. Cosa c’è da inventare ancora nell’im-
quando cammino, e anche in città serviva un permeabile? «È come la tastiera di un piano-
waterproof traspirante: siamo partiti dal pro- forte: è sempre quella, ma si possono creare
dotto non dal marketing». In tempi di brand 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 La collezione è stata svelata a metà ottobre con eventi
account Instagram pieno di collage fantasiosi, lei piutto- speciali a New York, Beverly Hills, Parigi, Londra, Mo-
sto una neofita. Ma quando lui ha trovato un messaggio sca, Hong Kong, Shanghai, Tokyo e Kuwait. «Fendi Ma-
spedito da lei, non pensava certo che sarebbe finita così. nia è una celebrazione del logo iniziata con l’ultima sfila-
E invece oggi dall’artwork di lui – l’artista digitale Hey ta, che adesso si estende a capi e accessori donna, uomo e
Reilly – è nata una capsule collection che fonde il nome bambino», dice Silvia Venturini Fendi, direttore creativo
di Fendi con il lettering del marchio sportswear Fila. «È uomo, bambino e accessori donna. «Allo stesso tempo è
successo subito dopo il mio post Fendi fake, non potevo una celebrazione del lavoro dell’artista, che unisce crea-
crederci. Era proprio Silvia Venturini Fendi a scrivermi, tività e ironia: il lato fun è per noi un elemento chiave».
ho temuto una denuncia. Ma ora eccoci qui con il pro- Le basi dell’operazione si potrebbero definire ducham-
getto Fendi Mania». piane, condividendo la nota pratica dell’appropriazione

vogue.it n. 819 Code 133


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
Gilet imbottito con cappuccio di tessuto tecnico reversibile e motivo FF
all over; pantalone di jersey con bande laterali FF; marsupio di definirsi “linguaggio” e la parola chiave è “irri-
tessuto vetrificato con motivo FF e logo Fendi Mania di pelle applicato; verenza”. Sosteneva infatti il filososfo, sociolo-
décolleté di pelle con logo all over: Tutto FENDI MANIA. Hair Braydon go e cineasta Guy Debord che «dove il mondo
Nelson using Rene Furterer. Make-up Frankie Boyd using Chanel reale si combina in semplici immagini, le sem-
Les Beiges, entrambi @ Streeters. On set John Haywood @ Mini Title NY.
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». •

134 Code 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


VOGUE ITALIA PER FARNESE

Il Prezioso Trasformismo Della


“Mondo Collection” Di Farnese Gioielli

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.

È un’inaspettata esperienza polisensoriale, che coinvolge la diventa così il primo brand al mondo ad aver trasformato
vista, certo, ma a sorpresa anche il tatto e l’udito, a proiettare il design statico tipico dei gioielli in dinamico. Questo è
l’Alta Gioielleria in una nuova dimensione, quella in cui la possibile grazie all’ingegnoso sistema degli “Spine”, dorsi
ricerca della bellezza assoluta nasce dalla perfetta armonia intercambiabili, ovvero moduli semirigidi composti da pavé
tra l’espressione artistica, l’innovazione meccanica e la di pietre preziose, applicabili in pochi secondi attraverso
condivisione di un’emozione. Farnese Gioielli, maison nata un semplice clic alla struttura d’oro bianco o giallo del
a Roma nel 2012 dallo slancio creativo e dalle intuizioni gioiello, realizzato secondo la tradizione artigianale
imprenditoriali della designer Barbara Polli e di Alberto Maria orafa valenzana. Ecco allora che “Luxor”, “Pantheon” e
Serraino, ribalta i classici canoni estetici della gioielleria, “Versailles” si trasformano letteralmente ogni volta che si
mettendo in atto una piccola, ma significativa, rivoluzione cambiano gli “Spine”, disponibili in una misura universale,
definibile ingegneristica. Infatti, avendo ideato e progettato quindi abbinabili a qualunque modello, e in cinque colori
un meccanismo brevettato in settanta paesi attraverso il esaltati dalla luce di diamanti bianchi o neri, zaffiri, rubini e
quale gli anelli possono cambiare “vestito”, Farnese Gioielli smeraldi. Per gioielli, ogni volta, unici e personali.
La Puglia Per Immagini
«Al di là degli intenti descrittivi e illustrativi la fotografia Szóstak e Timo Kerber – individuati tra gli oltre 160mila
si configura così come metodo per guardare e raffigurare utenti che fanno parte della community di PhotoVogue,
i luoghi, gli oggetti, i volti del nostro tempo, non per la piattaforma fotografica di Vogue.it. Ciascun autore
catalogarli o definirli, ma per scoprire e costruire immagini è stato chiamato a compiere un itinerario in Puglia per
che siano anche nuove possibilità di percezione». Così conoscere le diverse anime del territorio e interpretarle
Luigi Ghirri in “La fotografia: uno sguardo aperto, 1984”. secondo la propria sensibilità. Con i suoi colori delicati
E proprio sotto la lente di sguardi aperti sarà la regione e i tempi meditativi del grande formato, Elliott Verdier ci
Puglia, protagonista di una mostra fotografica – realizzata regala visioni contemplative del paesaggio pugliese fatto
in collaborazione con Pugliapromozione – che si tiene di pietra e acqua, dove le tracce della storia si fondono
a BASE Milano dal 15 al 18 novembre in occasione armoniosamente con la natura incontaminata. Timo Kerber
della terza edizione del Photo Vogue Festival, rassegna rivela al pubblico la spettacolarità e unicità degli eventi
internazionale presieduta dal direttore di Vogue Italia che ogni anno valorizzano contesti di inestimabile pregio
Emanuele Farneti e diretta dalla Senior Photo Editor Alessia culturale e naturale come le Grotte di Castellana. Sonia
Glaviano. Un viaggio per immagini per scoprire la bellezza Szóstak racconta con autenticità il rapporto viscerale con
non convenzionale dello scenario pugliese attraverso lo la terra, il momento della raccolta, il rituale della tavola, le
sguardo di tre talentuosi fotografi – Elliott Verdier, Sonia 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 aggressivo degli anni Novanta si esprime nel disegno
by Diesel”. Non è la prima volta che il leggendario marchio a camouflage militare, reinterpretato nei toni blue denim
di fazzoletti di carta lega il suo nome a un marchio cutting- caratteristici del marchio. Sulle tre varianti spicca il logo
edge del made in Italy. Dopo la partnership con Moschino Diesel, a griffare una collezione limited edition. Sono i
quest’anno tocca a Diesel, il brand che in quarant’anni nuovi accessori del living contemporaneo, perfetti per
di inesauribile creatività è diventato il simbolo del casual una quotidianità disinvolta ma stylish. Con la qualità,
glam. In linea con lo stile ormai inconfondibile imposto garantita da Tempo, dei mitici fazzoletti, resistenti in
da Renzo Rosso, a decorare i pratici box cubici sono tre lavatrice, morbidi e delicati sulla pelle. Ed ethic per
irresistibili fantasie. Grintosa dal gusto rock è la variante su attitude, perché la serie Tempo realizzata da Diesel
fondo rosso sangue, coperta di adesivi simili a quelli che i aderisce a un progetto charity in collaborazione con la
teenagers collezionavano nei mitici anni Settanta. Ricorda Onlus Only The Brave Foundation: la ricostruzione della
lo spirito indie del movimento grunge l’originalissimo scuola media di Sarnano, piccolo centro del maceratese
disegno su tinta grigia: una mano irriverente coperta di colpito dal terremoto. Un altro motivo per non rinunciare a
anelli con margherite che spuntano tra le dita. L’estro 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 porta su quell’incantevole dimensione in cui realtà e im-
continuo a farlo. Lo sci è molto interessante per la foto- maginazione si fondono. Nell’ambito del Photo Vogue
grafia: sei immerso in uno spazio bianco, tutto da riempi- Festival di quest’anno, Sundsbø sarà protagonista di una
re. Come una tela vuota. E poi i concerti: lì invece è tutto mostra personale dal titolo “Beyond the Still Image”,
nero, nerissimo, e poi lo riempi». ospitata a Palazzo Reale di Milano (15/11-9/12).
Ogni fotografo, ogni artista, ha compiuto un proprio
percorso che lo ha portato a essere la persona che è. Per Negli ultimi anni, e in particolare con l’avvento dei so-

traduzione alice guareschi. tutte le immagini © sølve sundsbø.


Sølve Sundsbø tutto è cominciato con quegli spazi vuo- cial media, sempre più persone hanno puntato il dito
ti da riempire. Una faccenda di bianco e nero. Poi sono su una fotografia di moda che promuove standard di
venuti i colori: ÇLentamente ma inesorabilmente sono bellezza non raggiungibili. Il desiderio di vedere cor-
entrato nel mondo della moda e mi sono reso conto di pi autentici è senza dubbio un cambiamento positivo e
quanto sia bello e stimolante lavorarci». importante, ma penso anche che sarebbe un errore se un
Il desiderio di un’estetica più realistica priverà la fotogra- simile desiderio di “verità” finisse per censurare la foto-
fia di moda del suo potere di generare magiche illusioni? grafia di moda. Dopo tutto, per usare le parole di Irving
Pensiamo ancora che un artista debba essere “dannato” Penn, la fotografia di moda è fatta «per vendere sogni,
per creare opere importanti? E com’è cambiato il busi- non vestiti». Cosa ne pensa?
ness della fotografia di moda nell’era del #MeToo? Quando la gente dice “la direzione è questa”, è come se
Vogue Italia lo ha chiesto a Sølve Sundsbø: con la sua stesse dando per scontato che da quel momento la dire-
personalissima visione, caratterizzata da una tecnologia zione sarà sempre quella. Ma non è vero. Il mondo della
all’avanguardia e da sfide ambiziose alla natura bidimen- fotografia di moda cambia ogni sei mesi, o persino più
sionale dell’immagine fotografica, questo quarantotten- velocemente, è in continuo movimento. Ci sarà sempre
ne è infatti l’esempio perfetto del fashion photographer una dinamica di reazione e controreazione. Se il trend di
che fabbrica sogni. I suoi video e le sue fotografie rifiu- adesso è “tutto deve essere reale”, puoi scommettere che
tano qualsiasi rigida adesione al realismo, aprendo una tra tre anni ci sarà di nuovo qualcosa di ultraglamorous e

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

229
230 Back vogue.it n. 819
tempo di rimettere in questione il comportamento di la principale differenza tra immagini fisse e immagini
persone che agiscono come agiscono unicamente perché in movimento?
quelli intorno a loro, o in generale la cultura, hanno vo- Penso che la forza dell’immagine fissa derivi dal fatto
luto trovare delle scuse per il loro comportamento. Ca- che si tratta di un momento nel tempo in cui sei tu a
pisco che alcuni artisti possano essere più tormentati di dover aggiungere cosa è successo prima e dopo. Sei in
altri, e rispetto chi ha bisogno di vivere in un certo modo una logica in cui dici: «Ora ti do un personaggio e un
per creare. Ma non ci sono regole che dicano che devi momento nel tempo, e tu devi immaginare il resto». È
vivere in un mondo di fantasia per crearne uno immagi- questo il motivo per cui la fotografia è uno strumento
nario. Un buon esempio è quello di Roald Dahl, che si di comunicazione così straordinario: perché lascia uno
sedeva ogni giorno nella sua stanza, con la penna in ma- spazio enorme alla nostra fantasia. Anche trasferire que-
no, e creava universi magici dal nulla. Non sto dicendo sta idea alle immagini in movimento è una sfida, perché
a nessuno come deve vivere. Ma è tempo di smettere di devi fare la stessa cosa, ma in circa 60 secondi. È come
scusarsi per comportamenti orribili con l’argomentazio- vedere una sola scena tratta da un film e immaginare il
ne pretestuosa che “è così che vanno le cose”. resto della trama.

Ricordo bene com’era il business negli anni 90, quando C’è anche l’idea che la sua arte, che sia fotografia o film,
vivevo a New York e lavoravo come assistente di fotogra- non debba per forza seguire una narrazione lineare.
fi di moda. Non penso ci possano essere giustificazioni Penso che questo abbia anche a che vedere con il fatto
di alcun tipo per il fatto di maltrattare qualcuno psico- che non mi piace che mi si dica cosa devo fare. E non mi
logicamente o fisicamente, ma i comportamenti inap- piace neanche dire alle persone cosa dovrebbero pensare
propriati non sono certo una novità. Cosa è cambiato? o meno. Credo che lasciando a chi guarda il film o l’im-
Tutti possono sbagliare. Ma diventa un problema quando magine questo tipo di spazio, scatti una forma di rispetto
è un intero sistema, o il modo di lavorare di qualcuno, a verso lo spettatore che mi piace molto.
essere ripetutamente sbagliato. Siamo tutti esseri umani,
ma per me esiste un limite che non può essere oltrepas- Come fotografo di moda, ha bisogno di un bravo stylist,
sato. Quando mi sono trasferito a Londra, uno dei miei un buon parrucchiere e un buon make-up artist. Sui
migliori amici mi ha detto: «Se vuoi essere un bravo fo- suoi set, quanto interferisce con le scelte di questi mem-
tografo, devi diventare la versione migliore di te stesso». bri decisivi del team?
Lo stile di vita di un fotografo può essere abbastanza di- Dipende dal tipo di lavoro. Ma, come sa bene, i migliori
sfunzionale, perché quando sei in studio tu sei il re o la fotografi hanno i migliori hair e make-up artists. Pren-
regina, ed è possibile perdersi dentro a un potere simile, da la relazione di Steven Meisel con Guido Palau e Pat
in particolar modo se non hai qualcosa d’altro nella tua McGrath. La combinazione tra il miglior make-up e hair
vita a fare da contrappeso a queste dinamiche. Un pote- styling con il miglior fotografo. È davvero incredibile.
re e una responsabilità senza controllo possono generare Tendo a tornare a lavorare con lo stesso gruppo di perso-
molti problemi. Ecco perché per me è importante avere ne perché c’è rispetto reciproco e un linguaggio condivi-
qualcosa al di fuori della fotografia di moda – qualcosa so. Posso dare dei suggerimenti, ma non è il mio punto
di personale – che è più prezioso, che mi mette a fuoco. forte. Se penso a Mert e Marcus, Mert probabilmente
potrebbe fare il trucco e i capelli. Lui è bravissimo, ma io
La natura è la sua più grande fonte d’ispirazione? non ne sono capace.
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- Quali fotografi l’hanno maggiormente ispirata?
ste cose mi stimolano e sono incredibilmente curioso, al Penn e Avedon sono sempre i due cui tutti guardano. Co-
punto da diventare fastidioso. Se qualcuno è nel mezzo me chi fa musica è influenzato dai grandi compositori,
di una conversazione, voglio sempre sapere di cosa si è la stessa cosa. Ovviamente per me è stato molto im-
sta parlando. Ci sono persone timide, io sono curioso. E portante Nick Knight, perché lavoravo per lui. Quando
penso che la curiosità caratterizzi il mio lavoro, perché stavo cominciando a interessarmi alla fotografia di mo-
voglio esplorare. da, Nick aveva un ruolo di punta nella trasformazione di
questo tipo di fotografia.
Mi viene in mente David LaChapelle quando diceva:
«Se vuoi la realtà, prendi l’autobus». Che cos’è la bellezza per lei?
Proprio così. E un altro artita, Simon Foxton, ha detto: La bellezza è sopravvalutata. La bellezza per me è ca-
«Se vuoi la realtà, guarda fuori dalla finestra». risma e gentilezza. Quando incontriamo una persona
carismatica, questa persona è capace di far scomparire il
Nella mostra a Milano, a Palazzo Reale, ci saranno mondo intero. È un dono incredibile, e Avedon lo aveva.
fotografie, video e installazioni site-specific che chiara- L’ho incontrato solo per un paio di minuti, ma è stato co-
mente fanno vedere quanto sia all’avanguardia il modo me se il mondo intero fosse scomparso e avesse lasciato
in cui usa la tecnologia per spingere l’immagine di mo- solo lui e me. Con la bellezza succede la stessa cosa. Non
da ben al di là dei limiti bidimensionali. Qual è per lei 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 signorili, il cappottone e il cappotto doppio trench, in-
prima della rivoluzione. La rivoluzione, come si vuole somma l’armamentario sartoriale per una working girl
francese, è quella che ha portato scompiglio nel già non globale molto abbiente e rifinita in cachemire. Era stato
placido mondo della moda, e anche Hedi Slimane da un trionfo di critica e di vendite (borse, per la verità, più
Céline: anzi Celine (è anche una storia d’accento, que- che vestiti): come una Prada degli inizi, aveva plasmato
sta). Le adunanze sediziose, alla vigilia della sfilata P/E lo stile di sciure minimaliste-intellettuali (il colpo di ge-
2019 della maison, il 28 settembre, erano organizzate nio-grazia finale con Joan Didion testimonial). Ma a fine
dalle “philofiles”, le seguaci della precedente designer, settembre le philofiles si son ritrovate invece – anticipate
Phoebe Philo. Adunanze preventive in boutique che ce- da un rullo di tamburi della guardia repubblicana, nello
lebravano l’addio a colei che aveva a suo modo creato show che ha cambiato tutto – uno stuolo di adolescenti,
un mondo: sofisticato, altoborghese, diurno. Attesa, la acuminati slimaniani, in impeccabili abitini fondamen-
rivoluzione puntualmente avvenne: con i 96 look (unisex talmente neri, attillati attorno alle loro uscite serali.
equamente indossati da donne e uomini) mandati in pas-
serella da Hedi Slimane nella grande struttura di acciaio Dall’interno-giorno degli uffici ariosi e salubri di queste
e vetro du côté des Invalides. lavoratrici, ci si è ritrovati all’esterno notte di una Senna
più eccitante. Son cresciuti un po’ nel tempo gli adole-
Oggi, dopo oltre un mese, l’eco della rivoluzione, presto scenti, negli anni del seminario slimaniano sulla gioven-
fattasi rissa mediatica, ancora non si è placata. Perché tù, prima da Dior Homme (2000-2007) e poi da Saint
questa non è una storia di vestiti. È un feuilleton su uno Laurent (2012-2016); diventano grandi ma mai del tutto
dei non molti ambiti, la moda, che oggi riesce a incrocia- adulti, come personaggi da Bret Easton Ellis. Secondo il
re soldi, potere, espressione artistica, influenza culturale, “Financial Times”, Slimane con la sua estetica è rimasto
creazione di immaginario in pochi anni e con carriere imprigionato in un mondo magro, adolescente, come
persino meritocratiche come in nessun altro settore, al- sotto un aspic, una gelatina che lo preserva.
meno in Europa. Ecco perché si è qui a scriverne, e sen-
za essere esperti del ramo. Si è studiato: la sfilata dello Fuori dalla gelatina, gliene han dette di ogni. Di aver
scontento si chiamava “Paris La Nuit,” e come program- ripetuto se stesso, certo, di aver violato il sacro panto-
ma-manifesto “diario notturno della jeunesse parigina”, ne beige-grigio-kaki di Celine. «Déjà-vu», secondo la
quanto di più lontano insomma dal passato. Nei suoi più feroce accusatrice, Vanessa Friedman sul “The New
dieci anni a Parigi, Phoebe Philo – donna lavoratrice York Times”, per cui «era possibile sperare che Slima-
fin dal nome, che sembra quello di un’agenda – aveva ne invece di ripetersi si evolvesse dando vita a qualco-
rassicurato le coscienze con le sue tutine e le borsette sa in grado di parlare più generosamente a chi ha vite

232 Back vogue.it n. 819


233
multidimensionali». Meno concettuali, i soliti perfidi che come si sa è stato l’avvisaglia del cambiamento.
debunkers di “Diet Prada” hanno fatto un bel meme con Qualche giorno prima della fatidica sfilata, sono com-
un tipo che incolla una pubblicità di Saint Laurent su parsi infatti i primi loghi, ed è stato subito “accent-gate”,
un’altra di Celine, al suono di una dolce melodia (“Move e del resto lui prima aveva tolto la Y davanti al suo Saint
bitch, get out the way”). Articolando poi: «Eravamo spe- Laurent che mieteva adorazione e fatturati).
ranzosi e pronti a essere sorpresi, ma vedendo la nuova
collezione ci siamo ricordati che è meglio rimanere cini- Eppure lui, Slimane, aveva messo le mani avanti: nell’in-
ci». “The Washington Post”: «In una notte ha fatto sal- tervista abbastanza programmatica a “Le Figaro” del 25
tare tutto quello che era di Celine» (compreso l’accento, settembre: «Ho trovato il mio stile vent’anni fa. Passa

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 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- ora passare dagli 800 milioni di euro attuali al doppio
vamente e che definisce chi sono». Le philofiles sono o al triplo, missione cui è tenuto dalla proprietà, grazie
affrante. «Certo, forse alla fine è meglio una rottura anche alle linee uomo, ai profumi e alla couture (così un
drastica piuttosto di un imitatore di Phoebe», riflettono nuovo profumo Celine è atteso già per l’anno prossimo).
su “The Business of Fashion”. Non era nemmeno facile Lo sanno tutti. È stato chiamato per questo. E oltre alla
trovare un successore per la stilista inglese che ha ab- lotta tra femmes savantes e adolescenti smandrappate,
bandonato il marchio a primavera, dopo aver imposto la sullo sfondo c’è quella più brutale tra i due grupponi del
sua donna senza angoli, «oversize, soft, enveloping» se- lusso francese: Kering di Pinault, che raggruppa tra gli
condo Vanessa Friedman, insomma verrebbe da dire una altri Saint Laurent, Gucci, Balenciaga e Alexander Mc-
fagottara molto contemporanea e normcore. Le philo- Queen, e Lvmh di Arnault, che oltre a Celine ha anche
files oggi fanno i girotondi nelle boutique: «Il negozio Vuitton, Givenchy, Fendi e Dior.
Celine era pieno di donne intellettuali provenienti da
ogni parte del mondo», ha scritto Stéphanie Danan, sti- Non facile fare il designer nell’epoca della sua riprodu-
lista francese trapiantata a Los Angeles (come Slimane). cibilità tecnica. Su Trump però Slimane ha sbroccato.
Perché il cuore della questione poi non è estetico ma In un’intervista, quasi riproponendo un po’ la risposta
politico. I ragazzi di Slimane hanno scelto il momento francese al femminismo americano contemporaneo
peggiore per uscire dall’aspic: quello del primo anniver- (e sarà un caso, ma Catherine Deneuve, una delle più
sario del #MeToo, quello di un mondo sempre più di- sprezzanti contro il #MeToo, era in prima fila alla sua
chiaratamente sensibile alla narrazione femminista. sfilata), ha detto: «Il confronto con Trump è opportu-
nistico, piuttosto grossolano e comico. E poi le donne
Così le reazioni alla sfilata slimaniana continuano, e non che vesto io sono libere, libere di farlo come vogliono.
riguardano davvero i vestiti, ma tutto il resto. «Non ri- O forse non sono più autorizzate a mettersi una mini-
flette la diversità della gioventù parigina», secondo “The gonna se lo credono? Ho visto che per alcuni io avrei
Washington Post”. «Mascolinità tossica», ha commen- anche il cattivo gusto di succedere a una stilista donna.
tato Tim Blanks. «Il 91 per cento delle sue modelle so- Ci si legge un sottotesto di omofobia sorprendente. Ma
no bianche!», calcola il sito americano Mic (confron- davvero un uomo che disegna una collezione donna è un
tando la sfilata parigina di Celine con la media virtuosa problema?». Domanda retorica: ovviamente sì, almeno
della fashion week newyorchese, 44,8 per cento). “The per i mostri dei social.
Hollywood Reporter”, che ha paragonato Slimane a
Trump, seppur ironicamente (a differenza dei beoti dei Qualcuno degli accusatori della critica si è poi pentito,
social, che non sono così sottili): «L’odio per Slimane forse confidando in gadget o benevolenze, forse riguar-
sembra particolarmente appropriato per i nostri tempi, dandosi le foto della sfilata, dove gli young adults di Sli-
quando la politica trumpiana di divisione, news e social mane sono appunto young, ma non particolarmente ses-
media ha reso qualunque cosa personale, e trasformato sualizzati, anzi. Molto meno di altri marchi. Sono semmai
nel collage di queste pagine, foto di vanni bassetti e rose ryan.

il discorso pubblico in un duello quotidiano. Per alcuni stropicciati (come poi i loro colleghi “reali”, con tutte le
comprarsi un cappotto da quattromila dollari disegnato inchieste per cui si sa che i teenager non è che facciano
da una donna era percepito come un atto femminista. tutto questo sesso). Forse tutti proiettano un po’ troppo
Per loro, il resto della storia potrebbe sembrare fami- sulla passerella. «In fondo», ha scritto Robin Givhan sul
liare. Porta via il lavoro a una donna che lo faceva alla “Post”, «Slimane non è qui per risolvere tutti i vostri pro-
perfezione, dallo a un uomo che rovina tutto», ha scrit- blemi, ma per dar corpo a una visione. I vostri problemi,
to il magazine californiano. Continuando: «C’è da do- portateli dall’analista». E Anabel Maldonado, su “The
mandarsi se Lvmh (che controlla Celine) si aspettasse Business of Fashion”: «Abbiamo esagerato. Rischiamo di
questo tipo di operazione». castrare la creatività, oltre che un settore importante del
mercato». E ancora: «Tante di noi qualche volta hanno
In realtà non è che se lo aspettano: ci contano proprio. indossato con piacere una minigonna». Slimane ringrazia
Quando Bernard Arnault ha cooptato in primavera Sli- per questa pubblicità insperata, e dice che non è finita qui.
mane, lo stilista francese era reduce dai trionfi, non solo Qualcuno si chiede: perché, invece di continuare a fare
creativi ma anche commerciali, di Saint Laurent, dove se stesso, non fa un marchio suo? Questo sembra già un
cambiava i nomi ma soprattutto i fatturati. I ricavi sotto quesito più interessante rispetto al dibattito tra femmini-
la sua gestione “maschilista” sono cresciuti del 75 per ste infagottate o sexy, comunque altospendenti. “Aspic”
cento. Ma si può fare anche meglio: con lui Celine dovrà 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- anni 80, quando da tempo avevano lasciato l’universo
scani immortalato mentre inquadra Andy Warhol, che a Vogue per fondare con Rusconi la Edimoda, lo portò a
sua volta solleva la Polaroid e risponde al flash con un al- rifiutare l’incarico che in cuor suo aveva sempre sognato:
tro flash: Lucchini che dirige la scena, pantaloni eleganti, «Alla morte di Franco Sartori (direttore di Vogue Italia e
Converse (di pelle) ai piedi, nella Factory di New York, amministratore delegato, ndr.) mi proposero di divenire
anno 1969. «Andy stampava serigrafie a ciclo continuo, ad di Condé Nast, ma le direttrici di allora posero una
e mi disse una cosa che mi colpì: “Good business is the condizione irricevibile: lasciar fuori Gisella dalla nuova
best form of art”». Oliviero indossava un gilet Missoni, avventura. Ricordo la telefonata di Daniel Salem, allora
nel tipico patchwork di consistenze e colori, un partico- capo delle operazioni del gruppo: “Mais Flavio, Vogue
lare in apparenza secondario in cui c’è però un frammen- c’est Vogue!”. Al che gli risposi: “Oui Daniel, mais la fa-
to di storia della moda italiana: «Negli anni 60 Missoni mille est la famille”».
realizzava solo la collezione donna», dice Lucchini nella
sua dimora milanese, ieri ricoperta di moquette nera a Si diceva di quel patchwork, e del suo significato per la
pelo lungo ispirata alle installazioni di Pino Pascali, ora moda italiana: «Per la cover de “L’Uomo Vogue” che
punteggiata di opere di Alighiero Boetti, arredi di Ettore avevo da poco fondato, decisi di fotografare l’attore Lino
Sottsass, foto di Diane Arbus e opere da lui stesso crea- Capolicchio, e per creare un look screpolato, da rivolu-
te negli ultimi vent’anni. Una casa acquistata nel 1971 e zionario anni 70, mi feci spedire da Missoni alcuni pezzi
divisa con Gisella Borioli, compagna di vita e di lavoro, di stoffa del campionario, le cosiddette tirelle. Usando
che se lo ritrovò davanti a una lezione all’Accademia di delle spille da balia, montai i frammenti intorno al collo
Brera e, ancora ragazzina, si disse: ecco l’uomo della vita, di Lino in modo che sembrassero un maglione, e andai in
per conquistarlo mi renderò indispensabile, poi mi farò edicola. Fu tale il successo di quella cover che Missoni si
amare, quindi lo sposerò. Un sodalizio che alla fine degli trovò costretto a creare la collezione maschile».

238 Back vogue.it n. 819


Flavio Lucchini non solo ha contribuito a fondare Vogue Una costellazione di antologie che forse non riusciran­
Italia, nel 1965, portandolo in pochi anni a imporsi come no neppure a esaurirne il contributo: «Eravamo pirati»,
l’edizione più importante dopo quella americana e stac­ racconta Lucchini, nella divisa nera vagamente sovietica
cando per influenza e fatturato quelle inglesi e francesi. che ultimamente caratterizza il suo stile, «partivamo con
Ma per una serie di intuizioni simili e secondo l’opinione un camioncino pieno di vestiti e fotografavamo gli stu­
di molti, si può considerare un padre fondatore del Made denti in rivolta, i ragazzi delle periferie, le modelle come
in Italy. O almeno della sua trasformazione in movimen­ Alberta Tiburzi e Benedetta Barzini, quando a Milano
to, percezione condivisa e rispettata all’estero, sistema, non c’erano neppure le agenzie». Le redattrici moda ve­
battaglia comune. nivano selezionate senza giri di conoscenze, pubblicando
inserzioni sul “Corriere della Sera”: «Cercavo laureate in
Un direttore artistico che attraverso le pagine della rivi­ lettere o architettura e conducevo colloqui strani, chie­
sta che ha guidato fino al 1979 a fianco di Sartori ha con­ devo di descrivermi cosa appendessero alle pareti di casa
vinto stilisti e industriali ad abbracciare estetiche e mo­ e che libri stessero leggendo. Anche Franca Sozzani fu
delli, indirizzato le scelte commerciali, lanciato i giovani scovata così: sembrava volenterosa e la prendemmo pri­
del prêt­à­porter che albeggiava a Milano, e moderniz­ ma per la segreteria, e poi la passai a Gisella come sua
zato l’approccio dei sarti dell’alta moda romana che s’ac­ assistente a “Vogue Bambini,” anche se lei non la voleva:
contentavano di realizzare pochi costosissimi abiti per le diceva che le sembrava una signorina troppo perbene.
nobildonne lasciando che il resto d’Italia ne copiasse il Poi pian piano ha assorbito tutto, e il virus della moda
lavoro grazie ai cartamodelli. Incontrava i cravattai e li l’ha posseduta».
convinceva ad abbandonare regimental e motivetti geo­
metrici per sostituirli con disegni pop e fluo: «Persino Ricorda una festa nella sede di piazza Castello, con le pri­
utilizzare l’immagine di Mao Tse Tung come stampa fu me luci stroboscopiche portate da New York da Mario
un’idea mia e di Vogue Italia». Insieme all’allora diretto­ Schifano. Poi una missione in Costa Azzurra a caccia di
re commerciale di Condé Nast Attilio Fontanesi andava Pablo Picasso, respinti con fermezza dalla giovane com­
dai tessutai per portarli a finanziare i groupage, editoriali pagna del maestro, Jacqueline Roque: «Ci disse che non
di trenta pagine in cui si mostrava il lavoro dei sarti: Va­ stava bene e ci mandò via, ma indomiti ci venne il col­
lentino, Balestra, Capucci, Galitzine. E poi Krizia, Arma­ po di genio: a Nizza viveva Michele Sapone, il suo sarto,
ni, Walter Albini, Ken Scott. Il sistema dei pubblireda­ che ci tirò fuori un album di fotografie che ritraevano
zionali, volano per l’industria italiana e per le casse della Picasso in mutande, in tight, vestito alla marinara, nudo.
rivista, era nato. «Grazie ai groupage ingaggiai fotografi Saltammo sulla sedia e fotografammo tutti i faldoni, e
altrimenti irraggiungibili come Irving Penn e Richard pubblicammo il servizio su “L’Uomo Vogue”». Poi Yves
Avedon, mentre scartai Bruce Weber che non mi piaceva. Saint Laurent, convinto a posare con indosso tutta la sua
Sulla scia della visibilità creata da Vogue Italia, i nostri prima collezione maschile. O i pantaloni senza piega e
couturier più bravi divennero famosi come quelli france­ stretti alla caviglia che un giovane Gianni Versace, figlio
si. E d’un tratto la nostra moda non era più di serie B». di una sarta di Reggio Calabria, gli portò un giorno in
redazione: «Tutti li indossavano a zampa, ma noi li pub­
Ecco perché oggi, a novant’anni appena compiuti, Mila­ blicammo lo stesso, creando sconcerto tra fabbricanti e
no dedica a Lucchini le celebrazioni che merita: “Ghost”, negozianti».
un’installazione di quattro sculture da lui realizzate, sarà
visibile per tutto novembre nel giardino del Palazzo della La storia più incredibile riguarda Giorgio Armani, cono­
Triennale. Al Superstudio Più di via Forcella, fondato in­ sciuto mentre lavorava per il Lanificio Fratelli Cerruti.
sieme al fotografo Fabrizio Ferri, fino al 31/12 sono espo­ «Quando il suo rapporto con l’azienda andò in crisi ven­
sti novanta pezzi tra opere d’arte, cover, foto e documenti, ne da me per un consiglio, e io gli dissi che era venuto
per narrare una storia che va dalla creazione di “Amica”, il momento di mettersi in proprio», ricorda Lucchini
nel 1962, alla nascita del gruppo Edimoda fondato dopo che gli propone sei pagine di pubblicità su Vogue Italia
la fine dell’avventura a Vogue, alla scelta degli ultimi anni annunciando l’imminente collezione, offerte a credito
di dedicarsi solo all’arte. Inoltre, la possibilità di visitare, come investimento del giornale, irremovibile di fronte
foto courtesy archivio flavio lucchini.

su appuntamento, il suo archivio privato nell’Undergallery alle incertezze del futuro Re Giorgio: “Ma Flavio, non
del Superstudio Più, dove dal 16 al 18/11 sarà proiettato ho neanche un marchio!”. «Seduta stante, con il Bodoni
“La moda in un altro modo”, documentario curato da Gi­ originale usato per la testata di Vogue, gli composi il logo
sella Borioli e diretto da Giovanni Gastel. Giorgio Armani. Lo stesso che usa ancora oggi». •

«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”».

239
English Texts

Virgil Abloh, Takashi Murakami. I’ve always felt that the figure of to assert his US identity in France. This compulsion ga-
Takashi Murakami the lone artist wasn’t for me, whereas the idea of the ve rise to his first collaboration with Stephen Sprouse
by BEATRICE ZAMPONI atelier seemed far more congenial. So I put the idea in- and his graffiti. The experiment between art and fashion
to practice and I called my workshop Kaikai Kiki, whi- was so successful that it spawned other collaborations
“Working with Virgil, I wanted to build a new and ch means eccentric and wonderful. These words were including mine. It was clearly an epic transition. Nowa-
stronger bridge between art and the general public, traditionally used to refer to the artist Kano Eitoku days collaborations are an everyday thing, but we should
between fashion and subculture. My desire was for arti- from the Kano school, which was an atelier speciali- always remember who the pioneers were.
sts to be able to look back in 20 years’ time and feel that sed in decorative art founded before the Edo period. V.A. It was a completely revolutionary experiment
anything is possible. I accepted the responsibility of However, this collaborative system wasn’t common in – mixing art and fashion, and doing it without any
knowing that how I live and work today will condition contemporary or Japanese art at the time of my debut. compromises. It was also a crucial moment for the
the depth and breadth of the creative choices made by I had to build it up and fight to establish it. It might not development of my creativity. Murakami’s ability to
future generations of artists. We could say I’m sowing last for 300 years like the Kano school, but I hope it deconstruct and his aesthetic and conceptual freedom
the seeds for them.” continues for at least 100 years like Disney! have been totally inspiring for me.
“Interpreting contemporary society is a central part of Virgil Abloh. Our shared practice is closely bound to
my research. Takashi and I are extremely aware of the what we produce. Big teams are absolutely vital if you Today Abloh is the artistic director of Louis Vuitton’s
era we’re living in, and we’re constantly trying to tran- want to achieve certain results when you’re working menswear line. What do you think about this coinci-
slate it into our work. This is what brought us together.” on larger scales, both in terms of physical size and pro- dence?
Named by “Time” magazine as among the world’s most ductive quantities. Our collaboration is based on the T.M. I think his position isn’t very different to Marc’s
influential people, Virgil Abloh and Takashi Murakami total inclusion of our relative teams working as one. when he was at Louis Vuitton. With an Afro-American
share a devilish ability to merge categories that are nor- at the helm of a Parisian fashion house, Virgil’s work is
mally regarded as distinct, if not opposing. And in doing You both use recognisable symbols and icons that then marking an epoch too. I expect him to push his identity
so they interpret and transform the contemporary. become your unmistakable hallmarks… more and more in this sense. It’s a change that indicates
A 38-year-old American with Ghanaian origins, Abloh V.A. In my case everything starts from Marcel Du- fashion’s positive instability, emphasising how it conti-
has degrees in engineering and architecture. Perhaps champ and the new expressive possibilities he gave us nues to absorb different stimuli to evolve in a way that’s
it’s this contrast with the fashion world that has given with his ready-mades. I transferred his artistic language often even more free than art.
him the uncommon skill to tune into the wants and into today’s world, choosing for example to use pede-
desires of different audiences. Creative director of strian-crossing stripes as a symbol. I adopted something Among the works you’ve presented, there’s one in whi-
the rapper Kanye West, a DJ and the founder of the trivial, ubiquitous and ready to use, and through its re- ch a self-portrait of Bernini is superimposed with Mr.
Off-White label, Abloh is a “herald of immediate cool” petition I turned it into a meaningful part of my work. DOB (the first character created by Murakami inspi-
(as Angelo Flaccavento described him on these pages in T.M. I started depicting my characters to describe red by manga comics). Is there a particular relation-
the May issue). At the same time, he is also art director how Japan focused on creating these charming-di- ship with this Italian architect?
of Louis Vuitton’s menswear and the creator of a line of sturbing dolls after World War II. It’s a very complex V.A. Bernini was a multidisciplinary artist. He fits in
furniture for Ikea dedicated to the millennials, due out world that represents one of our strongest cultural with my personal feeling that contemporary society is
in stores in 2019. eccentricities, and that’s why I wanted to turn its pro- experiencing a sort of Renaissance. So I wanted to make
Much has been said about Takashi Murakami. The tagonists into icons. a connection between the Renaissance and what Taka-
56-year-old is Japan’s best-known artist, a mixer of high shi and I are doing today.
and low culture, East and West, tradition and manga. Abloh, in your language you use a lot of lettering and
He has combined the factory concept rooted in Japa- quote marks. Is there a Dadaist inclination in this In the various exhibitions, the most portrayed work in
nese craftsmanship with the idea of Warhol and Hol- choice? multiple versions of colours, materials and supports
lywood movie production systems. This has led him to V.A. The use of lettering and quote marks allows me is the simple intersection of your most unmistakable
merge art and the market-place, selling sculptures and to be figurative and literal at the same time. It helps symbols: Abloh’s four arrows and Murakami’s smiling
paintings worth millions of dollars alongside mass-pro- me to recontextualise objects and concepts, letting me flower, a sort of icon composed of icons…
duced products such as T-shirts and key rings. develop a constantly new dimension where I can create. T.M. It’s an emblematic gesture. We really wanted to
Abloh and Murakami are long-standing friends. For ye- render our languages indivisible. I think that valuable
ars they have viewed each other’s work with admiration In your work you often reveal part of the creative pro- art can only be valued years after its creation, not im-
while mutually influencing each other. They decided cess. Why? mediately afterwards. When future audiences look at
to work together on the creation of a series of exhibi- V.A. It offers me the chance to humanise what I’m our work, I’d like them to think of the end of an era
tions in the galleries of Larry Gagosian. After starting doing and bring people closer. I’m fascinated by the when art was still sheltered in a sanctuary, and when we
in London with the show “Future History” in February, idea that a human connection can be triggered through were working ceaselessly to bring it outside. •
the cycle landed in Paris during the summer with the inanimate devices. (Trad. Antony Bowden)
title “Technicolor 2”, and concluded a few days ago with original text page 60
“America Too” at the Gagosian gallery in Beverly Hills. In 2002, Murakami started a collaboration with Louis
Their aim – as they explain in this dual interview with Vuitton that totally revolutionised the traditional
“Vogue Italia” – was to highlight the numerous commu- brand’s image. Marc Jacobs – the then creative director Sølve Sundsbø
nicating vessels between their eccentric languages. – said: “This experience has been a monumental mar- by ALESSIA GLAVIANO
riage between art and business.” What do you recall?
You both work with large teams, like in a Renaissance T.M. Just as Sting was an Englishman in New York, “It started with skiing - because we skied a lot, I still do.
workshop. How important is this collaborative aspect? Marc Jacobs was an American in Paris, and he was trying Skiing is quite interesting for photography because you

240 vogue.it n. 819


start with a blank canvas. You have a white background Do you think that today we’re finally overcoming the your cutting-edge use of technology, which propels
and then you fill it. I also went to concerts where it is misconception that in order to be a great artist you ha- fashion photography beyond the limits of two-dimen-
really black and then you fill it.” ve to be damned or lead an extreme lifestyle? sional imagery. What is the main difference for you
Every photographer, every artist, has taken their own For a lot of people, I think all these rules about how between still and moving images?
path which has led them to become who they are to- you’re supposed to behave as an artist are just an excu- I think the strength of the still image comes from the
day. For Sølve Sundsbø, it all started with empty spa- se. Especially in the wake of the #MeToo movement, fact that it’s a moment in time where you have to fill
ces to be filled. A matter of black, and white. Then I think it’s time to question the behaviour of people in what happened before and after. You’re in a mindset
colors came. who only act the way they do because those around where you say, “I’m going to give you a character and
“Slowly but surely I fell into fashion and realized what a them or the culture at large have been willing to excu- a moment, and you have to guess the rest.” That’s why
beautiful and exhilirating world it is to work in.” se their behaviour. I understand that some artists are photography is such an incredible tool to communicate
Will the thirst for more realistic aesthetics deprive fa- more intense than others, and I respect those who with, because it leaves a lot to your imagination. Tran-
shion photography of its illusory power? Do we still need to live in a certain way to create. But there’s no sferring this idea to moving images is also a challenge.
believe that an artist needs to be damned in order to rule that says you have to live in a fantasy world to With moving images you have to do the same thing but
produce great art? And how has the business of fashion create a fantasy world. A good example is Roald Dahl, in maybe 60 seconds. It’s like seeing a scene from a film
photography changed in the #MeToo era? who would sit in his room every day with his pencil and guessing the rest of the movie.
Vogue Italia spoke to celebrated fashion photographer and create magical universes out of nothing. I’m not
and filmmaker Sølve Sundsbø about the state of fashion telling anyone how to live. But it’s time to stop apo- There’s also the idea that your art, photography or film
photography today. With his unique vision defined by logising for horrible behaviour under the guise of “it’s doesn’t necessarily have to follow a linear narrative.
cutting-edge technology and bold challenges to the just the way it is”. I think it also has to do with the fact that I don’t like
two-dimensional nature of photography, Sundsbø is being told what to do. And I don’t like telling people
the perfect example of a fashion photographer who ma- I remember what the business was like back in the ’90s what they should think either. If you give that space to
nufactures dreams. His photographs and videos reject when I was living in New York working as a fashion the person looking at the film or picture, there’s a re-
any rigid adherence to realism, opening a gateway to photographer’s assistant. I don’t think there are excuses spect for the viewer which I like.
an enchanting dimension where imagination and reali- for treating people badly either psychologically or phy-
ty are fused in a catalyst for infinite outcomes. As part sically, but these things were always happening. As a fashion photographer, you need a good stylist, go-
of this year’s Photo Vogue Festival, Sundsbø will also Everyone can do something wrong. But it becomes a od hair and good make-up. On your sets, how much
be the subject of a solo exhibition titled “Beyond the problem when it’s a system or someone’s way of wor- do you interfere with the choices of these vital team
Still Image”, hosted in the evocative galleries of Milan’s king that repeatedly goes wrong. We’re all human but members?
Palazzo Reale. there’s a very firm limit for me. When I first moved to It depends on the job. But, you know, the best pho-
London one of my best friends told me, “If you want tographers have the best hair and make-up. Look at
In recent years, and particularly with the advent of to be a good photographer, you have to be the best Steven Meisel’s relationship with Guido Palau and
social media, there have been increasing claims that version of yourself.” The lifestyle of a photographer Pat McGrath. It’s the best make-up and hairstyling
fashion photography promotes unattainable standards can be quite dysfunctional, because when you’re in the combined with the best photographer. It’s incredible.
of beauty. The desire to see authentic bodies is un- studio, you’re the king or queen, and it’s possible to I tend to come back and work with the same groups
doubtedly an important and positive shift but I also get lost in that power, in particular if you don’t have of people because there’s a mutual language and re-
think it would be a mistake if such a yearning for some other part of your life to counterbalance those spect. I can guide them but it’s not my strength. If I
“truth” ended up censoring fashion photography. After dynamics. That unchecked power and responsibility think of Mert and Marcus, Mert could probably also
all, according to Irving Penn, fashion photography is can lead to problems. That’s why it’s important for me do the make-up and hair. He’s incredible like that, but
about “selling dreams, not clothes”. What do you think to have something outside fashion photography – so- I can’t do it.
about this current tendency in the field? mething personal – that is even more valuable, that
When people say, “Now the direction is this,” they’re centers me. Which photographers have inspired you?
assuming that that’s always going to be the direction Penn and Avedon are always the two whom everyone
from then on. But it’s not true. The fashion photo- Is nature your biggest inspiration? looks at. It’s like people who make music are influenced
graphy world changes every six months, or even qui- Yes, but also music, books and science. My friends and by the great composers. Obviously Nick Knight has
cker, so it’s in perpetual motion. There will always be family say I’m quite nerdy. But all these things stimula- been very important for me because I worked for him.
a reaction and a counter-reaction. If the trend now te me and I’m incredibly curious to the point of being When I was starting to look at fashion photography,
is “everything must be real”, in three years’ time you annoying. If someone is having a conversation I always Nick was leading the way in changing fashion photo-
can guarantee there’ll be something hyper-glamorous want to know what they’re talking about. Some people graphy.
and retouched again, because that’s how it works. I are shy, I’m curious. And I think that curiosity also in-
take photos of everyday life all the time, so I’m really forms my work because I want to explore. What is beauty for you?
comfortable in the world of the super real, but I don’t Beauty is overrated. Beauty for me is charisma and kin-
necessarily choose to do that when I work. I’ve got four I remember David LaChapelle saying, “If you want dness. When we meet someone charismatic, they can
kids, I get up in the morning, they go to school, they reality, take the bus!” make the whole world disappear. It’s an incredible gift,
come home and we feed them - you know, real life. So That’s right. And Simon Foxton said, “If you want rea- and Avedon had it. I only met him for a couple of mi-
when I go to work I want to do something else. I don’t lity, look out the window.” nutes, but it was as if the whole world disappeared and
need to escape glamour and go into reality. I want to go left just him and me. It’s like that with beauty too. I can’t
from a relatively normal life and into a world that still In the exhibition at Palazzo Reale in Milan, there will define it, but when you see it you recognise it. •
has a bit more imagination. be stills, videos and site-specific installations that show 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 Ariete Prima decade con passo Cancro Non state rannicchiate Toro Buone notizie. Si concludo­
Mercurio stende su di voi un velo baldanzoso. Inarrestabili sia nel nell’angolino dell’inconscio, te­ no gli aspetti negativi di Giove e
protettivo, difendendovi dagli at­ lavoro sia in amore. Nate in apri­ mendo che qualcuno vi scopra. Marte. Anche personalità resisten­
tacchi e dalle intenzioni indelicate. le vigorose, atletiche, combattive, Marte d’attacco: più di una esce e ti come le vostre cominciavano a
In amore, l’autunno solleva banchi che non vogliono sonnecchiare si sbilancia, con forza e piglio de­ non poterne più. Da metà mese
di nebbia. Che confondono le forme sotto un castagno come in un qua­ ciso. Propulsione desiderante non effetti evidenti. Sembrava che quel
e rendono incerte le valutazioni. dro di Cézanne. Irrequietudine in contraddizione con l’animo dai senso di pesantezza, che aveva ri­
alternata a improvvisi turbamenti. sentimenti morbidi e delicati. guardato anche l’amore, si stesse
Gemelli Mercurio opposto, Vene­ prolungando all’infinito. Svolta.
re meravigliosa. Siete confuse ma Leone Non amate i comportamen­ Scorpione Il tono provocatorio
bellissime, frenetiche ma adorabi­ ti a doppio senso, la parola vi esce di Marte non vi innervosisce né Vergine Non permettete all’an­
li. Vi sfuggono parole involontarie, con significato chiarissimo. Ritmi scompone. Siete guerriere vere sia di mescolarsi alla tristezza. Il
ma i vostri occhi si fanno perdona­ forsennati e tensioni si stempera­ che si esaltano nella lotta. Sapete pensiero non indugia su se stesso,
re. Distrazioni nel lavoro, ma alla no da metà mese e un Mercurio essere fredde, e stare calme, anche con il rischio di creare paludi. Stile
sera, specie per la terza decade, le magnifico favorisce la comunica­ se la quotidianità è elettrica. Nel concreto, sorriso morbido, slancio
consolazioni d’amore eliminano zione. Giove fantastico inaugura lavoro usate la vostra influenza su autentico. Obiettivi centrati. La vo­
tutto dalla memoria. Fantastico. il trigono gioioso. Vantate con il collaboratori e clienti. Non man­ stra freccia colpisce dove deve, come
cielo un credito di riconoscenza. cate i traguardi. partita dall’arco di un maestro zen.
Bilancia Splendido novembre. Gio­
ve in dolce sestile, diminuiscono Sagittario Nessun bisogno di Pesci Nello sguardo di qualcuno Capricorno Anche se non amate
i sensi di colpa. Occasioni nel la­ orgoglio o eccessi di grinta per si accende il sottile filo conduttore quelle persone di mondo che, di­
voro. Si allenta il controllo della conquistare gli obiettivi. L’ener­ che porta a conclusioni esplicite. sperdendosi fuori di sé, non trova­
ragione. La terza decade, grazie a gia è potente, non si trasforma in Vuole conoscervi. È certo che da no più la loro regione interiore, nel
Venere, è seducente e maliziosa. Il tensione. Nel cuore dell’autunno qualche vostro prezioso segreto mondo vi muovete a vostro agio,
trigono di Marte è azione efficace una Venere amica lascia in secon­ dipende la sua felicità. La cosa vi senza smarrirvi. Soprattutto non
nelle battaglie e capacità di scio­ do piano la ragione. Nelle passioni diverte, ma attente a una certa in­ smarrite la strategia, che vi fa con­
gliersi scaduto il tempo dei doveri. non ci sono debolezze che vi riem­ genuità, specie se siete di febbraio. quistare il risultato. In amore leg­
piono di scrupoli. 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
C O N TAT T I

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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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We met a group of happy families – father and father, son and son; lit- light and shadow, a place where you feel slightly lost, or alien”).
tle girls climbing on their fathers’ laps; fathers throwing their laughing We travelled to feel lost, and alien. We journeyed to reach a plain in
children up in the air. Unconventional, happy families whose love should Hungar y. We roamed along the rocks and seasons of the Riviera. We ven-
ser ve as a rebuke to those who think they are justif ied in giving love a tured to unexpected corners of the world where seven great photographers
certif icate of authenticit y – and to those who feel they can decide what is cast their gaze: a rock sculpted by the sun in La Coruña, a stretch of sea off
natural and what is not. the Australian coast, a statue of Lenin in Transnistria, an expanse of lawn
We met an actor whose appearances in magazines throughout all these in Derbyshire. And then we went to Iran, to Jeonju, to Hier ve el Agua, in
years can be counted on the f ingers of two hands – whose role in a certain search of particular heartfelt places and stories that deser ved to be told.
famous f ilm changed the canon of men’s fashion. This issue is a celebration of remarkable people and places, because it is
We met a master of photography. We asked him to portray a group of the chance encounters, the places where we end up unexpectedly, certain
men he considers remarkable, and to tell L’Uomo what it is he sees through dance lessons offered to us by fate, that truly make us who we are.
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 Emanuele Farneti

31
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Redazione: 20123 MILANO - Piazzale Cadorna 5 - Tel. 0285611

REMARKABLE REMARKABLE REMARKABLE


PEOPLE PEOPLE PEOPLE
AND PLACES AND PLACES AND PLACES

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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
€8,00 €8,00 €8,00
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
Fashion Controversy 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
Very Personal Places 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 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 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 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 Five Fresh Designers Csikós of Hungary by Tom Johnson
Fashion Controversy Richard Gere by Brigitte Lacombe 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
Very Personal Places A Picture Of The Côte D’Azur 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
by Benjamin Alexander Huseby Styling by Charlotte Collet by Benjamin Alexander Huseby Styling by Matt Holmes by Benjamin Alexander Huseby Styling by Hannes Hetta

N O V
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€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

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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
63
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. able to feed her that day or the next. He doubtless does Jean-François Leroy has worked for Pho-
On an isolated road, a Syrian father carries his daughter in not know where they are going to sleep. I saw this picture to-Reporter, Le Photographe, Pho-
a loving embrace. Today, when we are told about migrants by Yannis Behrakis a few days after it was taken. It gave to-Revue and Photo Magazine. Since
in a completely abstract way, with individuals reduced to me goose bumps. I could never forget it. To tell the truth, September 1989 he has been running Visa
anonymous numbers and abstract quantities, this man be- I have never tried to forget it. pour l’image, the international photojour-
comes emblematic of all migrants. He embodies them. He Today, when the news brings me new information about nalism festival. From 1997 to 2009 he
gives them life. Emerging from abstraction, this father and migrants, I think of this image. I do not know what has hap- partnered with Hachette Filipacchi through
his little girl become the reality of this phenomenon to pened to this man. Nor to his little girl. Did they manage the company Images Evidence, which he
which Europe has never been able to provide an adequate to cross the borders? Were they beaten? Did they come up bought in July 2009 and of which he is
response. He gives her a cuddle and a kiss on the cheek. against the ever-expanding barbed wire fences that some now the CEO.
We guess that the girl is tired. No doubt frightened. He countries have put in their way? Did they find a country,
comforts her, or at least he tries to. He does not know a land that would welcome them?
where he is taking her. He does not know if he will be I will certainly never know. But I think of them. Often.

© REUTERS/Yannis Behrakis/Contrasto 71
C U LTU R E PH OTOJ O U RN A L IS M L' U O M O NO. 002

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 approaches to dealing with people – the man’s toxic nar- Jörg M. Colberg is a writer and photogra-
Trump, currently also the most famous embodiment of the cissism and the woman’s passive resigned reliance on sense pher based in Northampton (Massachusetts,
toxic narcissistic male who underpins so many of the various making sense eventually – are currently showing their USA). He has been writing about photog-
populist/neo-fascist movements all over the world. It’s a shortcomings. Which one will prevail we currently don’t raphy on his website Conscientious.com
telling picture. It’s equally telling that what is being revealed, know. I would like to believe that, as Martin Luther King since 2002. He is an assistant professor of
what has, in fact, been known for years now, is unlikely to said, “The moral arc of the universe is long, but it bends photography at Hartford Art School, Uni-
change anyone’s mind: resisting those around him, the toxic towards justice.” versity of Hartford.
man is reduced to acting like a toddler whose defiance is Beyond our common larger good, though, there is that
expressed in his body language and in that vacant stare.You insidious challenge posed by the toxic narcissist to his fellow
can tell me whatever you want, but I will do whatever I men: Are you with me? The many women who have contrib-
want – that’s the message. uted to #MeToo are not. Every man has to face the challenge
In contrast, the only woman in the picture, Germa- for himself: how much of that toxic narcissism do you have in
ny’s Chancellor Angela Merkel, does indeed look like a you? How much of that can you, and do you, want to get rid
‘mama’. That’s her nickname in Germany (Mutti), because off? However terrible our times are right now, they provide
of her approach to solving problems: patiently waiting us men with a teachable moment, with an opportunity to
until they go away while relying on common sense. Both come to grips with what it means to be a man.

72 © Jesco Denzel/Laif/Contrasto
C U LTU R E PH OTOJ O U RN A L IS M L' U O M O NO. 002

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, sense his integrity, his decency, his sympathy. Olivier Laurent is an international photo
sympathy: these are the things that make a man a man”, said These are the qualities that used to be associated with editor at The Washington Post. Previously,
Arthur Dales in an episode of The X-Files. I grew up not the sport of baseball across America, from its ballparks to its he was the editor of LightBox, Time maga-
understanding baseball – this American game that can go on silver screens as Robert Redford took on the role of Roy zine’s photography website, and an associate
for hours with little to no action. And yet this photograph, Hobbs in The Natural or when Kevin Costner built his Field editor for the British Journal of Photog-
taken by William Albert Allard in the summer of 1990, has of Dreams. These are qualities that, I feel, are now too often raphy. He has judged numerous photogra-
always fascinated me, pulling me into a realm of innings and replaced by greed and enmity, not just within the chalk lines phy awards from the Getty Images Editorial
home runs. It’s a simple shot, one that has no historical sig- of a baseball pitch but in how we relate to each other in our Grants to the Visa d’or and the Carmignac
nificance or influence. It merely portrays the third baseman politics and in our beliefs. Gestion Photojournalism Award.
for the El Paso Diablos at the start of a Minor League game. When I look at Allard’s photograph, I want to turn away
“His white pinstriped uniform is bright against a blue from the literal and metaphorical arenas and search, instead,
Texas sky with scattered clouds clustered above the grassy for that integrity, decency and sympathy that we are sorely
field,” says Allard. The player bows his head, clutching his lacking in an increasingly divided world. I want to find the
baseball cap to his heart, as the national anthem plays in the passion that grows on the dusty diamonds of neighbourhood
modest stadium. I think that bowed head is what first caught ballparks, as the thuds of bats hitting curve balls and fast balls
my eye, and that etched this picture into my mind. Through surrounds me. I want to stand on a grassy field under a blue
his body language, I feel this player’s passion for baseball. I Texas sky where dreams can still come true.

© William Albert Allard 73


C U LTU R E PH OTOJ O U RN A L IS M L' U O M O NO. 002

The Tenderness of Men


Photograph by Erika Larsen
Chosen by Sarah Leen
The caption that photographer Erika Larsen sent with this likely slaughtered it for food and fur, his expression betrays his Sarah Leen is director of photography for
photo from her National Geographic story about the Sami peo- sorrow for this waste of life. The intensity in his eyes evokes National Geographic Partners and previ-
ple of Northern Scandinavia read: “Sweden: February 2011, the fragility of life in this harsh land, the fact that there are ously worked for nearly 20 years as a free-
Sven Skaltjie found a pair of female reindeer whose antlers fights that no one can win, and how caring for something lance photographer contributing to National
became locked together during a fight. They then starved to does not always make it safe. Geographic magazine. She has won nu-
death. Sven sawed the bodies apart to identify whom they I love the tenderness of men that I see when they hold a merous awards for both photography and
belonged to. One was his and one belonged to his cousin.” baby, comfort a child, care for their creatures, plant a garden, editing from the Pictures of the Year com-
Immersed in the white horizonless landscape of North Swe- serve a meal, harvest a tomato. As much as men are often petition and the World Press Photo Awards.
den, Sven stands with his head down and shoulders slumped raised to be strong, tough, impenetrable and bold, it is when
as he contemplates the loss of two animals. He had raised and their tenderness is displayed that I truly love them.  
cared for his reindeer since it was a calf, nurturing it to sup- This beautiful yet sad image speaks of that tenderness to
port his family, and although some day he would have most me. It holds all that emotion and wraps it in silence. 

74 © Er ika Larsen
C U LTU R E PH OTOJ O U RN A L IS M L' U O M O NO. 002

Royal Shrovetide Football


Photograph by Oliver Scarff
Chosen by Lars Boering
A man has to be many things these days. Culture and so- every inch, pushing themselves to the limits and striving to Lars Boering is managing director of the
ciety demand more from him than just to be macho or to beat their rivals. The image looks like it’s portraying a big World Press Photo Foundation. In 2008
tell the world what to do. He needs to be good and kind fight. But if we take a minute to read about the story we Boering founded Lux Photo Gallery. In
to his partner. He must have an eye out for other people, discover that this is a game dating back to the 17th century, 2010 Boering co-founded the Photography
even though empathy isn’t always a man’s best trait. And and that respecting its rules and each other is very much Masterclass Amsterdam for Advanced Sto-
most of all he has to make way for the opposite sex, so that part of this rowdy contest. rytelling and acted as managing director of
women can at least be on the same level as him at work, It got me thinking that respecting rules and respecting the Dutch Photographers Association from
while also accepting that in many cases a woman will be his women shouldn’t be that difficult either, and that if we can 2010 to 2014. He lives in Amsterdam.
boss. With diversity becoming more and more important, apply this principle one day in the future, we’ll be able to look
and with clear action being taken to balance the roles that back and see how diversity and gender equality have become
men and women must both play in life, men very often end a reality in our lifetime. Wouldn’t that be great? If thinking
up confused. Hurray for that, since without this moment this way gives men an uncomfortable feeling of having to
of soul-searching we would end up with nothing being let go of many preconceptions, always keep in mind that we
changed again. Let’s make this effort. will still be able to play a manly game of Royal Shrovetide
Having said that, I can also enjoy a picture like the one Football. There are some things that never seem to change,
taken by Oliver Scarff. It shows men competing, battling for and this could be a comforting thought for you.

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

77
CULTURE OPINIONS L' U O M O NO. 002

WHAT MAKES A MAN


IN FASHION TODAY?
By Anja Cronberg
What makes a man? continue to define ourselves, but also a relation to it. Redefining this masculine men try on pussy-bow blouses sceptics
This question was the starting point hierarchy of masculinities that encour- ideal, and the power, legitimacy and priv- point out that the catalyst for this pleth-
for a recent issue of Vestoj, the journal ages certain ways of being a man over ilege that goes along with it, takes time ora of new looks might be more closely
I edit and publish. I called it ‘On Mas- others. and concerted effort. related to the ever-increasing commod-
culinities’, since today it seems more With this in mind, a term like ‘di- Lately there have been cries about ification of everyday life than it is to
apt to use the plural, to underscore the versity’ is fraught. How to be the ‘right’ masculinity ‘in crisis’ and the emergence any kind of new man. After all, fashion
many ways in which one can be a man, kind of man is a battleground for many, of a ‘new man’ – an idea that the fash- in capitalist culture is primarily about
or become one. What we’ve thought of and some might say that when it comes ion industry in particular has been quick promoting an unattainable ideal – as it
as ‘masculine’ has changed considerably to manhood, man is warden and prisoner to capitalise on. What should this new turns out, fanning feelings of inadequacy
during different historical periods and alike. Hegemonic masculinity stipulates man wear? In a shifting landscape where is still the most effective way to get us
inside different cultures, and the social how to act, dress and talk ‘like a man,’ masculinity is being supplanted by mas- to spend more.
position of masculinity has helped shape and men who don’t want to risk being culinities, surely another, more diverse,
not just the gender order by which we shunned have to position themselves in wardrobe is being called for? But while Founder and Editor-in-Chief, Vestoj

78
CULTURE OPINIONS L' U O M O NO. 002

IS AMBIGUITY STILL A
SHOCKING ATTRIBUTE?
By Angelo Flaccavento
The solid image of the man as a self-pos- blown ego-tripping, self-referential fri- or heterosexuals, still creates a certain streetwear. Ambiguity, on the contrary,
sessed individual completely devoid of volity of the metrosexual – a man so in discomfort in onlookers. No matter how is a selfish ’n’ complacent dress-up game
any frivolous trait has long been shattered. love with himself as to embrace not only far we have gone, there are still things for truly frivolous individuals who are
The demolition started a long while ago, extensive training and beauty treatments, that look suspiciously drag-like to the not afraid to beg, steal and borrow lace
actually: on the cusp of the hedonistic but also liberal amounts of cosmetics on pineal eye of our digitally-conformist, or feathers from gals’ closets, or vice
Seventies that led to the conspicuous a daily basis, plus body-hugging, mus- archly judgmental society. versa. Ambiguity is powerful because it
consumption of the Eighties, when the cle-revealing clothing and an unbiased, Ambiguity has lost none of its powers endlessly demonstrates gender connota-
newfound, quickly gained and widely freed attitude – completely reset the to this day, as pictures of David Bowie tions are not matter-of-factly attached
spread wealth meant quite a hell of a lot codes. Today machos sport plucked eye- or the New York Dolls in their heyday to items of clothing, but are a purely
of showing off, be it of a new body or brows and waxed chests with immense prove, or shots from the Gucci and Mai- cultural construct. Such a taboo is still
a new way to confront the world using masculine pride, not an ounce of vani- son Margiela shows testify. A man in a hard to break, but that’s not too bad, all
le look as one’s visiting card. ty shame in sight. Yet, the sight of men dress or kinky gear, wearing make-up, things considered.
In that very moment men got rid of openly and giddily acting fey and femi- enjoying abandon is discombobulating, Playing with danger keeps giving an
all the rigidities of their fathers and an- nine – or what is commonly considered and all the better for it. What’s called electric soupçon to the daily act of dress-
cestors, and accepted a liberating amount so, given that such traits vary from one genderless fashion is reassuring because ing up.
of vanity in order to be au courant. It culture to another and from one histor- it has flattened gender divides on the
went further and further, until the full- ical moment to another – either as gay sporty horizon of lazy, ugly-is-beautiful Editor-at-Large, Vogue Italia

79
CULTURE OPINIONS L' U O M O NO. 002

HAS STREETWEAR
KILLED TAILORING?
By Frédéric Martin-Bernard
For a few seasons, luxury designers and ticulous know-how that goes into its pro- afford clothes that are perfectly cut to their tailoring spirit on the catwalks may be bene-
brands have been focusing on sportswear, duction. Fortunately, the millennials – those size. ficial in the medium term. Provided, howev-
even streetwear, which used to be charac- under-40 consumers who are currently ob- With tastes passing as fashions, we may er, that the image is dusted off and no longer
terised by misshapen clothing and mass-pro- sessing the big brands – are not the only also imagine that digital natives will eventu- dwells on centuries-old traditions but instead
duced accessories. These same houses took people on earth who wear clothes. There ally tire of labels that are just a click away. In- emphasises quality, proximity and durability.
their lead from the social networks and are also their elders, starting with the equally accessibility and rarity are eternal wellsprings These are eco-responsible criteria (hitherto
squandered the images of their latest col- numerous baby boomers. Members of this of desire. Conversely, a man who dreams of unexploited) that count for more and more
lections in an instant. cohort do not necessarily want to wear the driving a Ferrari or a Porsche when he is in the eyes of all.
That adds up to a bad time for tailoring same outfit (and shoes) in town as at the sta- 20 will not be dreaming of driving the same
and, by extension, to the philosophy of me- dium. In addition, they have greater means to type of car at 40. Thus, the current lack of Head of Fashion, Le Figaro

80
CULTURE OPINIONS L' U O M O NO. 002

IS ITALIAN LIFESTYLE
STILL A VALUE?
By Masafumi Suzuki
My answer is definitely “Yes.” In Tokyo many of the European countries, as well philosophy of resignation of the Japanese. savoir faire is one of the most valuable
and probably in other major cities in Ja- as America, and Asia. And as for menswear? Well, almost all assets for the menswear industry of the
pan, too, the most popular western-style I might add here, too, that the sense serious fashion brands, not only those in world. So please, continue to inspire us
restaurant category is still Italian, the best and sensibility of the Italian aesthetics Italy but also those in the rest of Eu- with your belief that life can be happy
loved wine is still Italian, the best loved which gives ‘Made in Italy’ a uniquely rope and America, rely upon Italy for the with Italian fashion. Because by doing this
tailoring style is still Italian, and the most privileged position must have been de- production of their high-end clothing as we discover what fashion can do to make
popular travel destination overseas is still rived from the Mediterranean hedonism well as many kinds of men’s accessories us realize that life can also be happy –
Italy. It’s been like for more than two of Italians as opposed to the asceticism including bags, shoes, and small leather even for us pessimistic non-Italians.
decades ago, as I remember. And I also of the central-and northern-Europeans. goods. The sense and sensibility of Italian
suspect that this may be true also for Not to mention the Buddhism-inspired aesthetics reflected in manufacturing and Editor-in-Chief, GQ JAPAN

81
CULTURE OPINIONS L' U O M O NO. 002

IS MENSWEAR’S
NEW INCLUSIVENESS
ALSO EMPOWERING?
By Guy Trebay
“It’s like an immigrant casting,’’ the de- doors to humanity’s great chromatic dis- came clear to me last summer in Jamaica, Running into that young guy again
signer said, with a self-conscious laugh, persion. Lately the diversity that was so on a visit to Kingston’s rough Waterhouse during the menswear shows in Paris, I felt
during a backstage interview before a long in coming to fashion has made ob- neighbourhood. There, in a tin-roofed a combination of awe at the psychic and
menswear show in Milan in June. The servable inroads. Fashion shows, if not the cinder-block house, I met a successful economic distances he had travelled from
designer was white, it almost goes with- industry’s boardrooms or design offices, young male model raised by an aunt af- his home and regret for those denied his
out saying. His tent-pole show for one are increasingly plural. Yet, as the Italian ter his mother was killed in a gangland opportunities. I also experienced a certain
of fashion’s most important labels was designer’s offhand “immigrant” remark shooting. degree of ruefulness since racial diversity is
emphatically not. made clear, there is a stubborn resistance Scouted on the street by a local agent hardly the whole story. Fashion has been
For decades, people of colour were to rooting out ingrained habits. impressed by his chiselled cheekbones surprisingly slow to discover that it is dif-
a lamentably rare sight on fashion run- I thought about this again recently when and air of brooding self-containment, the ference that makes the world wondrous,
ways. True, on occasion, casting directors a question was put to me about this over- model had been flown to Europe, where not sameness – and how everybody loses
might add a black model to the mix, in due shift in men’s fashion: is the new in- he was quickly cast for exclusives by a each time we thoughtlessly filter out those
some cases literally for a flash of seasonal clusiveness “empowering”? number of European labels. With the who don’t conform to our narrow con-
colour. (“They look best in bright sum- Superficially, of course, the answer is previously unimaginable sums he now ceptions of what constitutes beauty.
mer clothes,’’ an American designer once yes since talents who for decades found pulled in, he had bought his step-mother
told me.) Yet for the most part, fashion employment elusive are now in hot de- a place to live and paid for his siblings’ Reporter/critic, Culture and Style
– insular, hermetic and smug – closed its mand. Just how transformative this is be- educations. The New York Times

82
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 to the idea of a story of encounters. In- You say ‘’our’ because you feel like a I said, “If you really want to help me out,
interested above all in themselves, Paolo stead of hanging a bunch of recognizable Frenchman at this point? you know what I need? A camera that
Roversi has an amazing and very per- f igures, I thought that a more intimate Oops, interesting slip! But in a certain automatically takes out-of-focus photos.”
sonal collection of other people’s works approach might be interesting, some- sense it’s really true. I think Peter and I And how did the bromance between you,
hanging in his house. But among the var- thing that brought together people who are - at least in spirit - the most French Lindbergh and Anton Corbijn come
ious Egglestons, Avedons, Penns, Franks, are important to me and people I’d met photographers in Paris fashion, because about? I follow all three of you on Insta-
Sugimotos and Brandts, the photos he for the f irst time who for one reason or we both started there and have never left. gram and I periodically see selfies of you
most likes to show are of his family. other struck me. It’s like life: there are At a certain point everyone packed up all together, happy as clams.
“See?”, he says, pointing to one child af- people you’ve known for 30 years and and went to New York, but I have to What does ‘bromance’ mean?
ter another, “They all look just like me.” others you met the day before, and you say the thought never crossed my mind. A close fraternal friendship, a brother-
It is therefore no surprise that, among the never know who might be more import- Maybe I have Guy Bourdin to thank for hood.
“remarkable men” that Roversi brought ant to you. that. I met him when I was a young nov- Yes, that’s exactly what it is, a brother-
together for this special project, there are You mean it’s like the life of a photog- ice, and one of the first things he told me hood. We met Anton at a show Peter was
included two of his sons, Francesco and rapher. was don’t ever go to New York, it’s the doing in Düsseldorf a few years ago. He
Matteo. Well yeah. My work, in a certain sense, cemetery of photographers. He thought introduced himself and we immediately
is an art of encounters. The encounter is it was too commercial, that it killed cre- embraced him. Since then we’ve been
Is this the first time you’ve photographed perhaps the decisive moment. Every time ativity and imagination. inseparable, we get together whenever
them for a magazine? I photograph someone it’s a sort of recip- Was there ever a rivalry between you and we can. He came in from Amsterdam
Yes. I’ve shot my daughter Stella often, rocal confession. An exchange of ideas, Lindbergh? just to see my show at Palazzo Reale
but this is the first time for Francesco feeling, and visions that can sometimes Never. We grew up together, and even in Milan - where something wonder-
and Matteo. They’re totally different, but be very intense and profound. if we have very different personalities, ful happened. We were in the entrance
somehow identical to me. It’s striking, W hich encounters have impacted your there’s an enormous respect and affection hall, and at a certain point this guy shows
no, isn’t it? Francesco is a videographer, career? between us. We stimulated each other to up with all these white balloons in one
he’s expansive, very Italian. He could be Soon after arriving in Paris, immedi- find a different notion of elegance and hand and a basket of flowers in the other,
a young Mastroianni in a Fellini film. ately in fact, I met Peter [Lindbergh]. femininity. And obviously we kid each and says, “Antonio?”. So I go, “Yes, he’s
Matteo is more reserved, a dreamer. As We both moved there the same year and other. Peter has been asking me forever Antonio,” pointing to Corbijn. The kid
a child he always said he wanted to be we connected instantly. We were both why all my photos are out of focus. At hands him the balloons and flowers, then
a scientist, but now he’s immersed in working for Marie Claire, which at the first I would respond seriously, talking leaves. It turns out that Palazzo Reale
music. He wants to become a composer time was a cutting-edge magazine – it about the fog of Ravenna, or quoting a is also a wedding venue, and there was
and conductor. This summer he went to published Newton, Sackmann, Steve Hi- famous photographer. Then I started giv- another Antonio getting married that
Ravenna to study with Riccardo Muti. ett, Barry Lategan. Claude Brouet. The ing him ever more improbable answers. day. We had a wonderful time in Mi-
Where did you get the idea to photograph editor-in-chief back then is perhaps the The last time we saw each other he said, lan, we laughed and cried together. And
this particular group of people? most influential woman in 20th-century “Ok Paolo, that’s it, I absolutely have to when you laugh and cry with someone,
It was a sort of adventure. I was drawn French fashion. She’s our Diana Vreeland. get you a camera with auto-focus.” And 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 L' U O M O NO. 002

Sami Younis Matteo Roversi

W hat’s it like photographing another netic. Melvil is the quintessence of the Each of them has a feature, a detail that right. I’ve known Julien since he was 17,
photographer? French cinema tradition. Will Peltz real- caught my attention. Jeenu, for exam- I did my first fashion photos with him.
I had a lot of fun, but it’s difficult, and a ly impressed me. He imbues everything ple, has this aristocratic air from another He chose the jacket with ‘King’ written
bit strange. I think it must be like a doc- he does with a powerful sex appeal. He time, he looks like he just stepped out of on it himself, which is appropriate: he’s
tor taking care of another doctor. You’re and Noé Martin are definitely the most a Satyajit Ray film. a true artist, extraordinarily creative in
aware that he does things differently than sensual of the subjects I shot for this proj- You can tell a lot from a face? everything he does – painter, designer,
you, that he knows what you’re doing. ect. But in very different ways: Will is Ever ything. I think so, anyway. Julia and a totally unique hairstylist. Did you
You feel a critical, or at least technical instinctive, visceral, while Noé is sweet, Margaret Cameron, who has always been know he was the first one to cut Lin-
gaze on you the whole time. The real romantic. a great master for me, said that photog- da Evangelista’s hair short? All the girls
problem is creating that sort of dialogue What is sex appeal? raphy isn’t just the map of a face or a adore him, because he knows how to find
that you almost always find with a strang- Something you either have or don’t. It’s surface, but something that penetrates a look for everyone, a way of expressing
er, or with someone who doesn’t practice a mysterious, epidermal substance, like beyond the surface to arrive at a much themselves. A bit like Visconti with Cal-
your trade. It’s like we’re each holding being photogenic. I’ve never been able deeper level. las, know what I mean? We work togeth-
up a mirror to each other. In any case, to analyze it. Sometimes I see a young Does this exchange you talk about be- er often, mostly for Comme des Garçons.
photographers are the most difficult sub- woman and think she’d be fantastic to tween photographer and subject also hap- Speaking of Comme des Garçons, what
jects to photograph, with actors running photograph, then in front of the camera... pen with lifelong friends and colleagues, kind of relationship do you have with
a close second. nothing. She suddenly becomes trans- like Jean-Hugues de Chatillon and Julien Adrian Joffe?
Why? parent, no gaze, no presence. ‘’Nobody d’Ys? What can I say about Adrian? He has
For actors, being photographed is very home’, as Avedon used to say when it Oh, they’re family. I’ve known Jean-Hu- his own light, he illuminates the people
different from acting. Actors are accus- happened to him. The guys we just talk- gues forever, I photograph him practi- he talks with and works with. He has
tomed to working from a script, they ed about don’t have this problem. Nor cally every day. Once I was looking for the gift of transmitting the right energy
know they have to make a certain ges- does Gabriel-Kane Day-Lewis, the son a set designer, and he showed up. Since at the right time and place. We worked
ture to act out a scene. When they’re of Daniel Day Lewis and Isabelle Adjani, then he’s assumed more roles and more together recently on the Rei Kawakubo
alone in front of the lens and have to be two very intense actors. Gabriel is a sen- responsibility in my studio, to the point exhibition for the Met. I went to Tokyo
themselves, there are two possibilities: sitive kid, but really strong. When you’re where if he’s not around, I really miss to photograph the archive. Then, some
either they don’t know what to do, or raised by artists you have to be. It’s com- him. He’s also an exceptional dancer time later, we were drinking whisky at
they desperately try to convey a certain plicated. It’s not easy to assert yourself, and choreographer, so when I’m trying the Hôtel de Crillon. At a certain point,
image. Which is to say, the opposite of create your own space and identity. You the lights before a shoot, Jean-Hugues Adrian pulls out the Met catalogue,
what I’m looking for. I’ve had some very always risk remaining in their shadow. is always ready to strike a pose for me. which practically no one had seen yet,
difficult shoots with some actors. In this What struck you most about the people If an assistant tries to get in on it, watch and my eyes welled up with tears. He and
case though I was very lucky, with Pierre you didn’t know, like Jeenu, Sami, Fer- out! He chases them off and takes over. Rei are rare people in the fashion world.
Niney, Will Peltz and Melvil Poupaud. nando and Tae Min? One of my assistants described him as I remember she once told me, “For me,
Pierre is a really good actor, very mag- I chose them because I liked their faces. a motivateur de troupe, which is exactly the most important thing is freedom.”

86
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Guerassim Dichliev Ismail Belgaid

What can I add to that? She said it all. together. He grew up in Santa Fe, and in “Paolo, you’ve got northern light coming violinist André Rieu. I told him that I
Rei, Adrian, Julien, Peter, they’re all the photo he’s wearing a hat of mine that in through this window, what more do wasn’t familiar with him, how do you
free. And that’s probably what connects I bought in his mother’s shop. you want?” spell his surname. And then Raphael said
all the friends I photographed for L’Uomo Mathias Augustyniak and Michael Guerassim Dichliev? something I really enjoyed – when he
Vogue. Amzalag, the founders of the M/M agen- I always say that my studio is like a lit- got to the ‘e’, he said “e it’s like étoile”.
You also photographed Peter Lindbergh’s cy in Paris? tle theatre, an empty space to be f illed C’est jolie, no?
son, Jeremy Brodbeck. A work relationship that has grown into with imagination and wonder. As soon And what did you learn about Ismail?
I’ve known him since he was a baby. a lovely friendship. They always manage as Guerassim entered it, he felt on a That he’s a judo champion and has a
We’re very close. to stimulate me, push me towards unex- stage: a sequence of gestures and ex- house full of trophies and medals. The
Is Brodbeck a stage name? plored territories, to turn my point of pressions, disappearing in an instant. most difficult thing that happened to
No, Lindbergh is a stage name. It comes view on its head and create something I immediately knew that I had to do a him in his career as a judoka was when
from Charles Lindbergh, the aviator who new – what every good creative direc- multiple exposure. he was entering an important final and
made the first solo flight across the At- tor should do, basically. We just finished And Raad Al Gabril? found he was fighting his best friend. He
lantic. working on a campaign for Acne, where Ah, Raad! Raad goes to the same univer- told me it was terrible, also because at a
Have you ever thought about changing they asked to use my old worn-out Pola- sity where Vivienne Westwood studied certain point his friend turned his back
your name? roids and to shoot with a pinhole camera. and loves Shakespeare, Bob Dylan and for an instant, so Ismail pinned him to
Never. But names are important. Did you I used to love these kinds of extremes, John Keats: he’s a ‘Romantic Punk’‘. He the mat. Amis à la vie, à la mort – but not
know that when Robert Capa – born En- and I must say that this campaign rekin- thinks the photo really captures him. on the tatami.
dre Friedmann – first came to Paris, no dled the flame. The power of Roversi, eh? [laughs] The title you chose is taken from the book
agency would hire him? So one day he What about Camille Blatrix? Do you always ask a lot of questions to Meetings with Remarkable Men, by
goes to the flea market, buys a Humphrey A great sculptor. There’s a whole world the models you work with? Gurdjieff, no?
Bogart trench coat and a Borsalino hat, of creativity and imagination in his eyes. Of course, it’s my job. Photography is a I have to say that as soon as this project
then goes back to the agencies saying Darius Khondji? psychoanalytic profession, you have to started taking shape in my mind, the ti-
“Hi, my name is Bob Capa, do you have He’s a really good cinematographer who know how to get inside people, pull out tle came to me immediately. Before all
any work for me?”. And that’s how he has worked with the best directors in the the most from them. And you also have the rest. They’re all remarkable for one
got started. Nice, no? world. When he was starting out, he’d to be curious. All photographers are. In reason or another. And then, when I fin-
Definitely. In closing, I’d like to ask you come to the studio every evening to pick a sense, we’re all paparazzi. ished shooting, I realized that everyone
for a few words on the other subjects of up his girlfriend, who worked as my as- Raphael, for example, what did he tell is. I really believe this. Certain mornings
this story. Let’s start with Kevin Rouff. sistant for a while. We connected right you? I’ll meet a man sweeping the streets of
Kevin used to be my assistant, now he’s away, talking about lighting, film, music. That he played the violin for 7 years, Paris and we’ll exchange a smile. And
an artist. He always amazes me. He’s ad- Now it is I who learns from him. For but at age 15 he suddenly quit because that smile gives meaning to my day. That
venturous and shy at the same time, even this portrait, I said, “Darius, you do the he felt embarrassed playing in front of stranger who smiled at me is just as I say,
wise. I don’t know how he puts it all lighting,” but he immediately replied, others. He started because he liked the 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 – Cici and Crosby. While their fathers make music, while in Los Angeles, a gay couple is suing the
perhaps – the worst of times for LGBTQ families write cookbooks and run their luxury B+B estate, U.S. State Department for denying one of their
in America. On one hand, this still relatively tiny the girls enjoy farm-grown organic food, pristine sons an American passport. For the moment, these
community has never felt more vitally represent- mountain air and vast open spaces. “Sure, we’re remain relatively isolated instances. But the recent
ed in culture, schools, churches and playgrounds. a bit of a different kind of family from the norm ruling by the U.S. Supreme Court recognising the
LGBTQ families are vocal presences in books, on around here,” Boone says. “We have experienced rights of companies to refuse service to LGBTQs
television and, most prominently, across social me- homophobia, but we’re very comfortable with be- because of their owners’ ‘religious beliefs’ opens to
dia. From Elton John and David Furnish to director ing gay dads; we have very thick skins.” the door to a potential f loodgate of further bigotry
Lee Daniels, pop icon Ricky Martin and two-time Max Masure, meanwhile, is a French-born gen- and discrimination.
Academy Award-winner Jodie Foster, LGBTQ der-nonconforming creative director and trans- Still, the slow (but steady) increase in LGBTQ
families are f inally edging close to the mainstream. rights advocate also living in New York whose families seems all but unstoppable – even as the
There are roughly 115,000 same-sex households four year-old daughter, Josephine, is a product of Trump White House proves ever-more unsympa-
raising children throughout the United States – of an earlier marriage with a man. Formerly a cisgen- thetic to minorities of all types. “A decade ago it
the children in these families around 80 per cent der woman, Masure – who prefers the pronouns was men in their 40’s and 50’s coming for surroga-
are biological offspring and 20 per cent adopted, “they”/”them” – says they’ve “had the chance to cy, now folks are starting even in their 20’s,” ob-
according to the Wil liams Institute on Sexual experience life as both a woman and mom – as serves Ron Poole-Dayan, Executive Director and
Orientation and Gender Identity Law and Public well as a dad.” Their verdict: “As a woman people Founder of Men Having Babies, a non-prof it that
Policy at the UCLA School of Law. always told me how to hold my daughter’s hand or assists gay men in having biological children. Even
Conventional wisdom might suggest that most how to do this or do that,” they explain. “But as a in the face of rising conservatism, Poole-Dayan
LGBTQ families prefer the relative openness of man, nobody ever tells me what to do.” says surrogacy is f inally losing its stigma for gay
progressive coastal regions like California or New Masure, Boone and Williams are among a hand- men. “Perhaps in Europe there is still resistance,
York. But even traditionally conser vative states ful of LGBTQ families shot by NYC-based fashion but in the U.S. we don’t really see that any more.
such as Mississippi, Wyoming and Alaska report photographer Ethan James Green for the portfolio If anything adoption remains far harder for gay
signif icant communities of same-sex parents. on these pages. Green – who typically photographs people.”
“Of course geography matters because acceptance is campaigns for fashion houses like Prada, Kenzo Despite the many real challenges still facing
not always the same across the board,” says Dennis and Alexander McQueen – came to this project LGBTQ families, this remains a community that
Williams, a gay father of a four year-old son living for intensely personal reasons. “I decided to shoot refuses to retreat or hide. In fact, many gay parents
in Brooklyn. “It’s unfortunate, but things can still LGBTQ families [because] having my own family actually feel emboldened by the specter of living
be easier when you’re in a big city.” Nonetheless, one day has been something I’ve realized I truly – and loving – openly amid this era of political
queer families are ver y much ever ywhere – and want,” Green explains. “There aren’t many im- uncertainty. After all, these are parents who already
they’re clearly here to stay. ages that exist of these families so I wanted to risked losing their original families during what
LGBTQ families come in every color and size shoot something LGBTQ people could aspire to for many were painful ‘coming-out’ experiences
and conf iguration – illustrating the ver y best of and that would allow the idea to be normalized in early adulthood. Surviving these initial battles
The United States of America’s sacred traditions further.” Green’s motives could not be more timely. – along with society’s larger, still-lingering ho-
of freedom, tolerance and a respect for individual For even today – nearly 30 years after the Stone- mophobia – has prepared them to defend the new
rights. Williams, for instance, is an African-Amer- wall Riots ushered in the modern LGBTQ rights families they worked so hard to create.
ican television executive who had his son, Elan, via movement and three years since marriage equality Derek Fleming – who with husband Sonny Pur-
surrogacy and is raising him on his own. “Creating was approved by the U.S. Supreme Court – hostile year is father to six year-old twin boys Dex and
a family has absolutely been the most important and political forces are threatening to erode many of Zane – says his own father had a hard time with his
rewarding thing I’ve ever done,” Williams says. the hard-won battles achieved over the past few decision to begin the surrogacy process in India.
“This was a ver y serious and rigorous course of decades. Indeed, whether through adoption or sur- “But we never let this deter or limit us. Now he
action,” he continues, “you could say Elan was the rogacy, marriage or pure circumstance, LGBTQ is so proud to be our sons’ grandfather,” Fleming
ultimate example of ‘family planning’.” families stand at the intersection between a pro- says. “We understand today that the current polit-
Then there’s Cooper Boone, a countr y mu- gressive American public and a political culture ical climate is not about us,” he adds. “And we are
sic star and television personality living deep in increasingly steeped in regressive and reactionary teaching our boys that they are special and worthy
rural upstate New York with his husband Mark rhetoric. In Michigan, for instance, a pediatrician and that our family is just as good as all of the other
Veeder and their four year-old twin daughters, refused to treat an infant with lesbian parents, 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
By Luke Leitch
Eleven minutes into meeting Shawn culture had started to become bigger, kept changing my ticket. But I thought still a student in 1999, was in the stock-
Stussy – the originator of so much of and something else.Yeah, and it turns to ‘hey, I at least have to see Kim’s thing’. room of Gimme5, the first UK importer
the culture we now called ‘Streetwear’ the Supreme mode: James (Jebbia) did So I made it here for that.” of Stussy’s brand. For Jones – as for pretty
– we get to the first big question. Af- really great with Supreme. And then, Jones had heard Stussy was in France much everyone in streetwear, menswear,
ter 23-ish years out of the game, would more recently, obviously the merging during menswear and emailed to in- or whatever you choose to call where
Stussy ever pick up a Sharpie and start of it within the big conglomerate, cor- vite him to the show. After it, I bumped we are in 2018 – Shawn Stussy’s work
designing again? porate model - proper luxury fashion into Stussy on the farthest fringes of has helped define his professional world.
“Yeah,” he says, leaning forward on goods. So the world I kind of incubated the congratulatory throng around the Here’s how. Shawn Stussy was born
the café table: “Yeah! But with the right has turned into another thing.” the designer: he was debating whether in 1954 in Long Beach, fortunate
kind of mechanism. Because that’s what That it has. We meet in Paris in to go and join A$AP Rocky, Naomi enough to be raised a Californian surf
it is, it’s a mechanism, a huge beast. It’s June, two days after Kim Jones’ first Campbell and Kim Kardashian and rat thanks to his grandfather Fred Stus-
not about just one guy anymore. I had show for Dior Men. Stussy has been a say hi. Instead, he melted away with si’s emigration from Switzerland to the
the kind of Wild West time, all through quiet cameo visitor to the September friends. Stussy seemed almost shy to US in 1902. Had the immigration of-
the 80’s and early 90’s: but it’s a whole womenswear shows since 2013, but this go and introduce himself: at our café, ficer not misspelt Fred’s surname, the
different world now.” Shawn Stussy, year he’s in France earlier, out of that he explains: “I’ve never crossed his path countless Stussy garments on the streets
who effectively retired when he sold usual synch, ready to lean into some life before because I haven’t been involved today would all have looked subtly dif-
his interest in his eponymous label to changes: he’s just bought a little place by for so long - and it was so crowded. ferent. Shawn started out as (and con-
his partner in 1995-ish (he has a surf- the water on the Basque coast and has But Kim’s super-talented. He did a great tinues to be) a shaper of surfboards – the
er’s laconic disrespect for dates), knows been there with his sons. “I was meant job.” art of sculpture in foam and fibreglass
that the business of streetwear changed to go to a few shows this time,” says Jones would doubtless have been for an audience of kinetically-charged
radically since - and was changing Stussy. “But I stayed at the beach. My thrilled to meet Stussy. The Dior de- waves – and is very precise about this
even then. “Simultaneously our little boys were with me, the sun was out, so I signer’s very first employment, when particular moment. “I turned the lights

A model wearing Stüssy. Photo Tiziano Magni, Vogue Italia, gennaio 1992. © Tiziano Magni. 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 strange to me as a clothing savvy Amer- It does, once you stare at the hori- a partner. Stussy calls Sinatra “a great
Road in March 1980. I was 26. That’s all ican kid. It was hugely influential.” zon awhile and consider the influences guy” and adds that “he ran the daily
I know. It was a big hippy centre there, Every experienced surfer knows to that swirled to make the story of Stussy. business” and was responsible for much
Hare Krishna, everything.” stare long and easy at the horizon in In 1980 he starts with the surfboards. that allowed the brand to grow, includ-
At first the boards were Stussy’s total order to detect patterns and sets in the What he saw in Japan, the fashion, has ing the computerisation of its logistics
focus, and the business was hard. “I’m a apparent chaos. During our time to- a deep impact. And then, without ever systems.
starving artist making surfboards, living gether today Shawn Stussy shares some consciously meaning to become a de- What drove that growth, however,
off my credit card.  Zero money. A kid of the tectonic theories of menswear signer of clothes, he became a designer was Stussy’s machine-gun output of
in a little room with a dream.” In 1981, he has developed during a unique – of clothes - thanks to his graphics. That punkily subversive graphics applied to
as Stussy recalls, “The phone rang. A and still ongoing – life both in deep happened at US trade shows – ‘ASR’s, elements of the Ivy League menswear
Japanese woman. The fuck? She was an fashion and well beyond it. One major or Action Sports Retail shows’ – where template – t-shirts, baseball jackets, Sta-
interpreter for this guy who had a little hypothesis is that menswear’s greatest he showed the boards which bore his prest style pants (and later the masterly
surfboard factory out in the country at age – its fulcrum – fell at a very par- jagged handwr itten g raphics, and beach pant) – that he remains entranced
Suzunami beach.  He had driven up ticular moment. “What you’ve got to an umlauted-u signature influenced by. Looking back now, the graphics in
and down the coast and happened to realise, there’s a golden era of men’s by that of his artist uncle, Jan. Those particular were ahead of their time – at
see my surfboards on the beach. And clothing, fashion type of clothing, to graphics, which today remain the vi- least fashion-wise – in their guerilla ap-
he was on a mission to bring somebody my mind. And it’s, say, 1958 to 1962. sual bedrock of the brand Stussy left so propriation of other brands’ language: a
from California to Japan, so he invited Then there is no rock and roll: there long ago, were less about Ivy League combination of post-Warholian cultur-
me to come shape in his little factory is no Beatles. Then, every person from and more about another spirit that had al awareness and an observation of the
in the country.  So I went with my Jackson Pollock to Miles Davis to Al- risen in the early 1980’s: “Those were world around him, especially New York
tools. I would go for four, five weeks len Ginsberg to Andy Warhol to John like punk: quick.” In 1982, along with hip hop culture’s appetite for wearing
at a time.  Come home with X amount F Kennedy to Miki Dora wore Ivy his boards, Stussy also printed up a few and re-inflecting luxury goods, led
of untouched bills with this little paper League clothes, sliced and diced. Men t-shirts for an ASR: these sold like cra- Stussy to sketch what were (I believe)
thing around them from the bank and could only draw from that Ivy League zy, and the impoverished board shaper fashion’s first-ever logo flips. “It was just
pay off my credit card.” Stussy’s trips to bag of clothing. But everyone put their suddenly had a new revenue stream. me making fun of luxury. So there was
Japan would always include a couple of own stamp on it. This was the zenith of Not so long after, he had a new part- the Rolex broken crown. And the SS
nights in Tokyo. “I’d walk the streets art and literature, for me: pre rock and ner too. Frank Sinatra Jr was at first link and No. 4 was fucking with Chanel.
and was ‘what is this Yohji Yamamo- roll. Then, within a few years you have Stussy’s accountant. “When I started he I was having fun, boom, boom, boom:
to-what-who? And across the street... Sgt. Pepper’s jackets and feather boas would do my taxes and I would give like when I did the world tour design -
Comme des Garçons?’ And there was and fedoras. That’s still for me what I him a board each year.” As the 80’s skate Tokyo, LA, London, New York and Paris
Issey Miyake, who was already pretty pull from the bag now, and that’s what boom helped boost Stussy’s name (I on the front, and Brooklyn, Compton,
well established.” Stussy, who describes Stussy did then.... So  I’m starting out first saw it as a pre-teen skater in the Santa Ana, Bronx and Venice on the
himself then as a “flea-market kid, al- in the surf industry but getting zero Ron Leighton shot and Shawn Stussy back”. At the time, says Stussy, neither
ways dressing funny, always interested influence from the surf industry. It drawn ad campaigns that featured in Chanel nor Rolex got in touch to com-
in clothes”, says this early encounter was coming from jazz, and Ivy League. imports of Thrasher and TransWorld plain, “because we were completely un-
with capital-F fashion was “so new and Does that make sense?” Skateboarding), Sinatra Jr came on as der their radar.” Only the photographer

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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 Soon, says Stussy, the New York store Bob Marley’s blaring, there might be France (he’s also rented a flat in Par-
t-shirt ever raised a ruckus. represented “5 percent of Stussy’s sales, a joint involved, and we eat Mexican is). Stussy intends to divide his time
As Stussy grew big in New York, big but 100 per cent of its image.”That store food from the food truck.” This sounds between here and Hawaii during his
in the UK, big in Japan, and big in also represented a step up, putting Stussy like a pretty ideal work environment. third chapter - and also to get back to
Australia, Shawn travelled. As the Stussy on radars it had previously flown be- At some point, however, what Stussy work. He’s always continued to design
tribe grew, he paid more and more at- low. One night, Stussy and Jebbia were calls “a religious thing” transformed graphics, and to shape boards, and for
tention to retail. When he travelled he sitting across the street in Jerry’s diner that environment. “That same crowd the last few years has dabbled in a Jap-
visited particular stores - A.P.C. and when they saw Giorgio Armani, flanked - all wonderful people, don’t get me anese-based surf partnership named S/
Agnes B especially - and he increas- by two American assistants Jebbia knew, wrong - but, well, this was this thing Double.
ingly thought about the potential of peering through the window of the going on in America at the time, in Or- Now he’s marinating thoughts of
being in charge of your own sales en- Stussy store. “And I was like, ‘oh, this ange County in particular. Born Again a more substantial project. “I realise I
vironment: your own world. Until: “I is cool’. That was a great day and I’ll Christians, something called the Cal- want to be engaged again. And I think
go to my partner and said ‘let’s open a always remember it.” vary Chapel. So all of a sudden I come there’s an opportunity over the next
store in New York’. He said ‘never in There are always two sides to ev- home from travelling and there’s this few years. As we go so far with cra-
a million years, we’re wholesalers, not ery break-up. According to Stussy, his evangelical talk show being pumped zy and kind of obvious fashion I think
retailers. That’s a kiss of death.’ Okay departure from his brand happened through my building. That was part of there’s going to be a reaction in the
Frank, I get it.” because he had discovered the joy of this whole change.” other direction… I just want to refine
Along with Patricia Field, Stussy’s fatherhood and lost the joy in his work. “We had no falling out”, says Stussy what I want to wear - it’s as simple as
second main New York retail client By late 1995 – a year in which his la- of his relationship with Sinatra Jr. “I that. Because that’s all I ever did, and it
at that time (1991) was Union, which bel turned over $35 million – Stussy sold. And I walked away with a big bag worked: what we made when I made
was founded by James Jebbia and Mary had had enough. “I mean, I’m 41 years of money. I just walked out the door Sussy looks good today, which means
Ann Fusco in 1989. They had become old, it’s 6pm on a hot summer Friday and never looked back. So I haven’t seen it wasn’t crazy. But the guts of it needs
friends and, recounts Stussy,: “James and night in LA, I have bags of fabric over him for 20 years.” to be for myself, because that’s all I ever
I are together and we go, ‘Why don’t we my shoulder and it’s going to be four Stussy adds: “I really wanted to be did, and it worked.”
just do it?’  We saw the writing on the hours to get home. I’ve got a bunch of, as pure having my children and rais- What Stussy can’t ever do again is de-
wall. So we opened Stussy in New York for me, a bunch of money at the time, ing my kids as I was in my starting my sign using his globally famous surname
completely separate from my business. with a baby, and I go: ‘what the fuck am business and raising that business. So I - he sold that right in 1996. But how
I leased my name for a dollar a year for I doing?’” had 20 years in business, then 20 years about this: if Gucci can market Guccy
retail in New York. James pulled Stussy Furthermore, says Stussy, the vibe of raising the kids. And now I’ll have could Shawn Stussy start Stussi? Maybe
out of Union, and we made our store within his business had changed as it the third chapter: 20 years of whatever that spelling mistake by Grandpa Fred’s
on Prince Street.  And that’s when the had grown.With great fondness he por- is coming now.” immigration officer back in 1902 will
thing changed: now I can go in there trays the earlier days at Stussy as pre- Last year Stussy and his wife Pau- prove to have been a gift. But enough of
and make a build out like I always want- cisely how you would expect. “So there la separated, selling up the house in dreaming up plotlines of a story that has
ed – it seems very innocent now in were maybe 20 people, all friends. We Montecito in which their sons Penn, yet to be written: the only person who
hindsight. But when you talk to people were like-minded: we listened to reggae 23, Chet, 22, and Tate, 16, were raised. will shape Shawn Stussy’s third chapter
in that era, it was kind of interesting.” and we surfed. So if we quit for lunch, Hence his new acquisitions here in 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 – it hasn’t changed who I am. Every job servant character who is looking to climb “faster” or “slower” – he’s very minimal
Ang Lee? is still a surreal experience and a learning the ranks. She spots him and they lust af- in that way.
It was definitely surreal, overwhelming curve. When you’re auditioning for the ter each other: particularly him towards Boy Erased is also due to come out lat-
and strange at times. I’d never been to things you really want, it’s rare to find her, and she quickly cottons on to the er this year. The film follows the son of
America, I’d never been in front of a something that really suits you or that fact that she can climb the ranks if she a Baptist preacher who is forced to par-
camera and these were people I grew up you really love. I give it everything I were to marry or become romantically take in church-supported gay conversion
watching, so there was definitely that can when I’m auditioning for those roles. involved with him. Every scene between programmes. A lot of your roles have an
surreal element to it. With him being at Your upcoming movie, The Favourite, them is a cat and mouse power play. element of social commentary – is this an
the helm I couldn’t have felt safer: he’s was directed by Palme d’Or winning di- I can imagine working on a Yorgos set is intentional?
such an incredible, special and kind per- rector Yorgos Lanthimos. What was it pretty surreal… The script was such a shocking and mov-
son. I really owe him everything. like working with him? And your co-star It’s not as crazy as you’d think it would ing story, especially in light of what’s
One minute you were in school, the next Nicholas Hoult? be. Although had a two-week rehears- going on today. The heart of the film
you’re the lead in a Hollywood movie. I’d met [Nicholas] a couple of times be- al period and that was the crazy bit. explored gay conversion therapy which
How did your classmates react? fore actually, and he’s great. He’s so much We ended up just rolling around on is especially disturbing during a time
Ever yone, including my schoolmates, fun, a lovely person, and he’s so funny in the f loor and playing lots of different when we have an American vice presi-
was really proud and happy – even I the film. Yorgos is not the same as Ang games, and then when he turned up to dent who has spoken on the record about
didn’t really compute what was going on. but he’s a visionary too. He has such a set – which is a very calm, controlled leading gay conversion therapy – so it
Which in some ways was good, because singular, unique, individual mind – his set – very little is said in terms of di- seems like an appropriate time to look
I didn’t have time to get nervous. I was films are so special and unusual, so to get rection. And again, there’s no talk of at how mad and terrifying those places
thrown in so hard and fast that it didn’t to work on one of those was incredible. I character or motivation. He builds such are. When reading something, I know
really have time to sink in. play a guy called colonel Samuel Masher a descriptive set with the lighting and pretty quickly if I like something or not.
What’s life been like since then? – he’s relatively high status in the court the costume it’s already done for you. By and large the things I’ve wanted to be
I don’t feel any different as a person really of Queen Anne, and there’s this young He’ll just say “louder” or “quieter” or 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. Home is a place for which I do not
It is the place of the mother, the mother grieve. Because I hold it in my hand, and
country, the deep verdant woods of North- conjure its centuries at will. Landscapes
ern Iran, where, once upon a time, she that rise and fall, live worlds inside shadows
walked the humid land, fell off an untamed in my eyes. Spaces full of spheres, sunshot,
horse, and refused to eat fresh Caspian fish. almost silent. The plateaus of Kurdistan,
Home is a city to which I won’t return. where my father rode saddle-less horses,
A city I’ve barely seen, and do not remem- and ate wild berries as a very young man.
ber. At night, dinner conversation, so far Perhaps my parents’ loss of country is
away from home: old crossroads named, merely theirs, it’s no longer mine.Through
gleaming harbours recalled, round salty their lilt of Persian, I have learnt my own,
lakes. I don’t know them, won’t ever know French-inflected, ever foreign. Through
them. Because if they still existed, they their loss, I have found my place, the only
no longer do exist. They are disfigured, place I know, the only home I want. A
names changed, maps shifted by boys with place that’s always here, and nowhere at
pick-axes. all, a home without perimeter. Its centre
Home is a country of ancient spires in nearly all the cities I visit, in the mystery
and turquoise domes, of stones scintillating of kindly gazes. It is a home for the restless
in the sun and blue-black seas. Home is a heart, for wild ungrieving men.
country of dry, windy cities, and concealed
gardens where the shadows of poets speak. Born in 1976 by exiled Iranian parents
Do not grieve, says the poet, do not grieve, and raised in Paris, Lila Azam Zan-
for lost Joseph to Canaan will return.Time ganeh lives and works between New York
and again I’ve heard this line in my mind. and London. She is the author of The
Hafez whispers to me across the seven cen- Enchanter: Nabokov and Happiness
turies. And now I know why this line tor- (Penguin, 2011). She writes for The
ments. In the Bible, Joseph never returns New York Times, The Paris Review,
to Canaan. Yet ten times Hafez assures us Le Monde, and was a member of the jury
that he will.  for the 2017 Man Booker Prize.

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C U LTU R E L IT ER AT U RE L' U O M O NO. 002

TUSCANY
By Teresa Ciabatti
There’s a place in Tuscany overlooked by saying). One day, far from now, I imagined and move into the family villa. We argued dashing to pack my bags).
a castle and surrounded by a patchwork of they’d bury me there, and my daughter because the giver of the villa refused to “Leave me.”
woods and wheat fields (which, since the would only have to cross the courtyard to cooperate: “I’m not cut out for living in a So we ended up staying in the humble
switch to organic, are also planted with weep at my grave. “Picture our daughter big house with a cypress-lined driveway.” house, or rather the one we could afford
flax). At some point it became my home: dropping by barefoot to leave her mum a “I am, I am,” I yelled. “I’ve waited a life- with what we earned.
San Casciano dei Bagni, in the province flower before diving into the pool. Because time for that house – the driveway, me by I realised that my mistake was marrying
of Siena. I’ll die young,” I used to say, hoping this the pool, me absent-mindedly watering a a man like him, when I could have been
In my mind, my husband’s family house matter would further the fulfilment of my rose bush, me, me, me! A whole lifetime,” on a yacht or in a castle. Sure, I’d be with
represented the restoration of an inter- dream. “Young but happy,” I would smile I stressed tragically. a less intelligent and less responsible man.
rupted childhood, the place dearest to my blissfully, already on my way heavenwards. He defended his position with baseless And yes, maybe he wouldn’t be as honest
heart where I could be a queen again, like “Thanks to you, who gave me this won- arguments: “We can’t afford the upkeep. or sensitive as my husband, or such a loving
the girl who used to twirl around in the derful house, unlike my father who sold We have to think about our daughter’s fu- and ever-present father.
halls of our seaside house. It was an up- my childhood home.” The giver in ques- ture and her studies, not swimming pools.”
graded evocation-restoration too, because tion was supposed to be my husband. “One question,” I asked, shifting to a Born in Orbetello (Italy) in 1972, Teresa
sometimes the things we’ve lost can return For months we’d been discussing the not-so-distant future. “Where will the girl Ciabatti writes novels, screenplays and
in a more magnificent form: a 15th-centu- prospect of leaving his small farm with celebrate her 18th birthday?” short stories. Her last book, Matrigna
ry villa, a driveway lined with cypress trees, its two bathrooms, two bedrooms and the The conversation went on like that, flaring (Solferino), is out this month in Italy. The
a swimming pool and a chapel (“Everyone sole comfort of a TV. Put simply: abandon up and dying down, only to kick off again previous one, La più amata (Mondadori,
come to my place for Mass!” I dreamed of the hovel, which was also in San Casciano, with greater zeal. “I’m leaving you” (I said 2017), was finalist at the Premio Strega.

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C U LTU R E L IT ER AT U RE L' U O M O NO. 002

JEONJU
By Krys Lee
“You’ve been running all your life,” said “None of this is yours,” said Ry- Ryong-jun’s eyes slid from the jar to money? Without a car, no one will look
Ryong-jun. “From Hoeryong to Seoul, ong-jun with worry in his voice. the car framed by the window. The one at you.”
and now to Jeonju, of all places.” Ryong-jun had a car magazine tucked he had worked double shifts at the glass “Who needs marriage? Or money?”
Dae-ho said, “Running toward Jeonju under his arm in case Dae-ho missed his factory to purchase. He didn’t understand Dae-ho placed the jar into Ryong-jun’s
is more accurate.” progress parked in the rear lot. The two that when Dae-ho turned the wheel and hands but it was too heavy for his loose
After a full day in Jeonju’s hanok had fled North Korea separately, but once cut into clay, the nightmares disappeared. grip. It shattered.
district, he didn’t understand how Ry- in South Korea they had stayed together That he had finally found a home. Ry- They were two men with a dream. A
ong-jun wasn’t enchanted by the tea at the Hanawon refugee centre, then stud- ong-jun was the closest thing to family broken vase. And a used Hyundai Elantra.
shops, the community of artists and mu- ied at the same arts university. They had that Dae-ho had left, and he worried
sicians, the low tables laden with seasoned entered the brave new world that kept about him like a brother. Krys Lee was born in Seoul, and raised
mountain vegetables. They had strolled telling them the only one that mattered Ryong-jun added, “You’re burying in California and Washington. She is
past several streets of hanok, their eaves was yourself. yourself in Jeonju.” the author of Drifting House (Faber
curving gracefully at human level, and Dae-ho held up a large earthenware Dae-ho gestured to the alley of studios & Faber) and How I Became a North
returned to the one where Dae-ho was jar that he had made during his appren- and shops. They were all buildings of a Korean (Penguin). She teaches at Yonsei
apprenticed to a master potter. Dae-ho ticeship. “This one is mine.” human scale that didn’t overwhelm you. University, Underwood International
was proud of the hanok even though it Ryong-jun eyed the rough, unglazed He said, “I can’t keep up with Seoul. Or College, in South Korea. This short story
wasn’t his, just as he was proud of the surface. Its quiet, humble beauty. “If you Pusan.” was written while she was at the artist’s
master’s pottery. sell it, how much will you make?” “Who’s going to marry you without residency of Civitella Ranieri (Italy).

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C U LTU R E L IT ER AT U RE L' U O M O NO. 002

LONDON
By Ali Smith
Come to London – to see a lamppost? posts in Westminster are like it. But no- embossed with her initials. I’d come all this way, for someone I
I said. where else in London. Nowhere else in How can anyone own a lamppost? I said. hardly knew, to see a lamppost. No, not
Not just any lamppost, you said. the world. Well, for the socialist in each of us, you said, just a lamppost.The seat of power.The past
A five-hour jour ney on a stand- You put your arms around me and the story also goes that these initials just and the future.
ing-room-only train? For which I had turned me round, traced my hand against mean City Council. The thing is, given the choice to unite
to get up three hours early? To be here the fancy-looking gold zero which, I now Ah, I said. or divide I’ll choose unite every time.
for one hour? And leave 40 minutes from saw, wasn’t a zero at all but a C facing The duke’s family apparently prefers this Power of love.
now to catch another train home in time backwards entwined in another facing for- other story, you said.
to sleep before work tomorrow – and a wards. I looked past the lamppost at the I bet they do, I said. Born in 1962 in Inverness, Ali Smith is
whole week’s wait for my next day off? Houses of Parliament, where right then But I brought you here, you said, be- a Scottish author, playwright, academic
So you can show me a lamppost? I said. the MPs inside were doing their own for- cause I want you to know that because of and journalist. Described as “Scotland’s
A unique Coco Chanel lamppost, you wards/backwards dance, debating leaving you this street, this city, now and forever Nobel laureate-in- waiting”, her last
said. Europe. belong to me. novels are Autumn (2016), shortlisted
Smells like any other lamppost to me, I The story goes, you said, the Duke Flatterer, I said. for the 2017 Man Booker Prize, and
said. And that one over there looks exactly of Westminster was still so in love with And whatever happens to us over time, W i nt er (2017, both p u bli sh ed b y
the same. Coco Chanel decades after their affair rich or poor, together or apart, you are its Hamish Hamilton). Her next novel,
Well, yes, you said, okay, all the lamp- finished that he had all his lampposts lamplight, you said. Spring, will be published in 2019.

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HIERVE EL AGUA
By Laia Jufresa
The morning the gel shortage was de- likely wouldn’t withstand a blow. had died shortly after. Yet it still attracted Her heart sank. She feared he’d choose
clared, he flew into a panic. “If you stop this right now,” she said, treasure hunters – men were hacking at to dry up there, with that view, rather than
“The future, it’s over!” he cried and “I’ll show you a waterfall.” it with chainsaws – and mystics – an avid go back home with her.
started smashing the china. She stepped He couldn’t have believed her, of course. group sat around a preacher. He stood up. He stretched. He said, “I
aside. She had never seen him like this. The rivers were dry and it hadn’t rained She guided him through the pools. can see it again, now.”
When they lost the child to the heat, it was for decades. Still, he stopped. He followed Where once they had brimmed with “The water?”
he who’d upped and moved them to the her uphill. They paused only once, to eat crystalline water – a turquoise colour like “The future.”
mountains, he who’d danced the tarantella and to share a government-distributed gel the pictures of the Caribbean now many
in his underwear until she had to laugh, blob – for all they knew, their last. claimed were a hoax – now they were cov- Born in 1983, Laia Jufresa grew up in the
had to stay alive. But now she felt strangely At dusk they reached a plateau and the ered in tents and locked sheds where the cloud forest of Veracruz in Mexico, and
poised at the sight of him losing it. It was ruins of an old spa. It was crowded because loiterers kept their distilling drums. spent her adolescence in Paris. In 2001, she
a bit like having the child back. She wor- of the spring that gave the place its name: Reaching the edge, they looked across moved to Mexico City. She is the author
ried only when he approached the drums Hierve-el-agua, where the water boils. the valley and saw it. of the short stories collection El esquinista
where every day, painstakingly, they distilled Like all the springs, it had been covered “Nothing but minerals,” he said after a (FETA, 2014) and the novel Umami
their urine. It was a rudimentary system and with stainless steel a long time ago and while, “a water fossil. So beautiful.” (Literatura Random House, 2015).

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PORTSMOUTH
By Fatima Bhutto
At Fratton Station, Sulaiman Jamil stepped tidying his desk before the day’s work, he the world. But Nur Muhammad refused was wrong, Sulaiman Jamil was almost sure
into the announcer’s booth every day and blushed and tried to avoid the mocking to leave. of that.
sat down in front of the metal microphone, glance of Miss Fox. Not because he loved his home. Not be- “I think of you,” he wrote on the thin,
wiping it gingerly with his handkerchief. “My office, janaab,” he wrote to Nur cause he had anything there, in Varanasi, to gauzy paper, before quickly scratching it out.
As he emptied a glass ashtray brimming Muhammad, his best friend, “overlooks a protect – no business, no wife, no life. Just, Sulaiman Jamil looked out the small,
with cigarette butts, he glanced up at a magnificent train station, connecting Ports- “No, I’m not going.” That’s all Nur Mu- cloudy window at the crisscross of rust-
worn calendar of Samantha Fox taped to mouth to the great United Kingdom. It is hammad said. “The West is finished, wait ed railway tracks and wondered where his
the wall. She wore a dangerously high-cut exceedingly neat and clean.” and see. The sun they are always going on friend was now.
gold leotard, turning sideways so her pert Sulaiman Jamil hadn’t received any of about? It’s about to set. Wait, don’t wait,
bottom was almost visible in the camera his friend’s cheery blue airmail letters in makes no difference.You’ll see.” Fatima Bhutto, born in Kabul, Afghanistan,
shot, as though she were offering it, prom- weeks. He had tried to convince Nur Mu- Sulaiman Jamil thought of Nur Mu- in 1982, is daughter of Murtaza Bhutto,
ising it. Her feathery blonde hair hung hammad to leave India with him, to get on hammad, his best friend, his only friend, niece of former Pakistani Prime Minister
loosely around her face and, with a finger, a plane, to cut his ties, to seek his fortune standing next to bloated pye-dogs feeding Benazir Bhutto and granddaughter of
she pulled the front of the gold bodysuit, in the open skies and remake his destiny off the remains of the dead at the ghats, former Pakistani Prime Minister Zulfiqar
exposing all but a centimetre of her breasts. in England. “What hope did we have back hawking his services to pimply English Ali Bhutto. She was raised in Syria and
Every morning as Sulaiman Jamil en- there?” India in 1990, whatever they said teenagers, and he was overcome with guilt Karachi. Her new novel, The Runaways
tered his booth and began his routine of on the World Service radio, was closed to for not insisting enough. Nur Muhammad (Penguin), is out this month.

112
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
of the modern man: the new 500 Collezione.
Don’t miss the new TV spot, styled by L’Uomo Vogue..

“The well-dressed man is he whose clothes you never notice.” One of the best-known brings further attention to the car’s iconic silhouette. The copper-hued finish
quotes by celebrated novelist and playwright William Somerset Maugham embodies of the 16’’ alloy wheels catches the eye, especially when the car is on the move.
the philosophy that a man’s elegance is enhanced by his choice of accessories. Much The new f abr ic seat s, the specia l ‘Col lez ione’ m at s a nd the ex-
more than characterless details, and certainly not playing just a mere supporting role, clusive dashboard that matches the car’s body are un ique st yle el-
today more than ever, accessories can express at best a man’s style, adding character ement s t h at se a m le s s ly con nec t t he ex ter ior w it h t he i nter ior.
to his personality. The same may apply to a car; the new 500 Collezione, both in the Driving becomes a pleasurable journey without losing a single moment of
convertible featuring a grey soft top and in the hatchback with a standard fixed sun sharing and connection courtesy of Uconnect™ 7” HD LIVE, which is com-
roof, stands out in the urban setting not only for its ‘outfit’, available in an array of patible with Apple CarPlay and Android Auto™. Finally, another notice-
colour combinations and in a special bicolour version, ‘Brunello,’ but also, and above able element is undoubtedly the ‘Collezione’ chrome logo that stands out
all, for its freedom to express, through each single detail, a contemporary aesthetic. on the boot, representing the car’s true distinctive feature, and making the
The exclusive copper-hued beauty-line, featuring a chrome trim on the bonnet, new 500 Collezione the must-have accessory for the stylish modern man.

R equiRes the A ndRoid Auto App on G ooGle p lAy And A ndRoid compAtible smARtphone RunninG A ndRoid 5.0 l ollipop oR hiGheR . A ndRoid And A ndRoid Auto ARe tRAdemARks of G ooGle llc.
A pple cAR p lAy inteGRAtion RequiRes compAtible i p hone. A pple cAR p lAy is A tRAdemARk of A pple i nc.
Alessandro Traina, IN/2
L’Uomo Vogue

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

ORIGINAL FORMULAS FOR THE BEAUTY OF MEN.


Il rituale quotidiano di bellezza maschile

depotmaletools.com EXCLUSIVELY IN FASHION STORES & CLASSIC BARBER SHOPS


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- for the backpack: chief amongst them that it keeps your back straight and (vitally)
one-shoulder when on the town – all of these bags are designed to be seen from your hands free. The only person it inconveniences is whoever is unlucky to stand
behind. That makes the backpack a singular item in the menswear category: behind you at rush hour. The backpacks presented here all represent excellent
for unless taken off it is a piece there to be seen rather than to see: all the wearer options for the posture-conscious man looking to equip himself for the city – or
appreciates is its weight on his shouldlers. There are plenty of positive arguments 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 or will you sully the shiny perfection of your Off-White x Rimowa example by
modern luggage. The toughest of them can even be sat on then used as transport slapping a Supreme sticker on it? Tumi offers you more modernist, less obvious
in the airport. Everyone needs one. But what does your suitcase say about you? option, and Samsonite represents a more neutral retro iteration. You’ll have time
Are you a luxury classicist à la Goyard? Are you a retro-aluminium head who to consider your choice while waiting for yours at the carousel, and praying the
appreciates the metallic sheen of Fabbrica Pelletteria Milano’s excellent example, 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 goggles - or technical shades, or sherpas if you opt for the Oakleys or Smiths here -
mountain and into street-level usage. Really, if ski goggles were ever going to should be reserved strictly for the piste. So when making the decision, think about
take off it would have been in 1997 – but even the recently-departed Notorious how they look second and how they fit and feel first. Does the lens filter suit your
B.I.G. (RIP) and Puff Daddy’s compelling donning of them in the video for Mo outlook? Is the headstrap comfortable? Adopt this functional approach to finding
Money Mo Problems couldn’t make goggles break the big time. That means a pair of 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

VERSACE EYEWEAR LAPS COLLECTION BY ITALIA INDEPENDENT


Metal frame sunglasses Titanium frame sunglasses
€ 235 € 237

LINDA FARROW MYKITA + MAISON MARGIELA


Gold plated sunglasses Steel frame sunglasses
€ 985 € 395

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, is much more subjective - as is brand. There is something to be said for specialist
do they fit your face? There’s no point picking a pair that looks great on the shelf eyewear brands such as Linda Farrow and Laps Collection by Italia Independent.
if their arms have to stretch beyond 90 degrees to fit over your ears. Working out But a pair of designer frames is a straightforwardly entry-level tactic for displaying
what lens shape to opt for depends on your own face’s shape. So try, try and try your brand affiliation of choice. Just make sure they fit your face - otherwise even
again until you find a shape that complements yours. Frame material and colour 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 necessarily have to be classical. There are also plenty of timepieces with specialist
sophisticated functions, some chronographs are defying the prevailing, and slightly functions, such the “RM 39-01 Aviation” by Richard Mille. This flyback chrono-
repetitive, vintage trend to take on new technological and aesthetic challenges. graph was designed as a flight navigation instrument, with a hand showing coor-
For the 25th anniversary of the Royal Oak Offshore, Audemars Piguet has issued dinated universal time (UTC), or rather the time standard used to calculate all the
a daring version with a camouflage strap, proving that an iconic object doesn’t 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 7147 model has a 2.4-mm-thick case with a transparent sapphire-crystal caseback
increasingly slender models. Bulgari stands out as one of the most creative and features a dial in Grand Feu enamel. The Monsieur de Chanel is another
brands with its Octo Finissimo. An ultrathin automatic watch, its octagonal case watch that conceals its complex mechanisms behind a linear design. It is Chanel’s
measuring just 2.23 mm thick was inspired by the Basilica of Maxentius in Rome. first watch to be fitted with an in-house movement, which took five years to
The allure of extra-thin timepieces has also seduced Breguet, whose Classique 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 the down jacket has conquered every range of  masculine taste. Moncler, that
imported to Europe by the French mountaineer Lionel Terray in the 1950s, original pioneer more recently reinvented as a high watermark of fashion,
when he told his friend René Ramillon about the ultra-warm, ultra-light piece remains at the vanguard of puffer innovation – however today there are plenty
of feather-filled outerwear. Ramillon had recently founded a tent and sleeping of other adventurous designers striving to take this uniquely functional winter
bag manufacturer named Moncler: he decided to make jackets too. In 2018, 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 to button up in the cold. When thousands of British military versions flooded
popularise them. The English call it the Duffle coat – probably a bastardised the surplus market after the Korean war, they became popular with students,
spelling of ‘Duffel’, the Belgian source of the heavy wool used in many early existentialists and every wannabe beatnik on a budget – and entered the
versions. Its origins are obscure, but it found popularity in the early 20th pantheon of masculine outerwear. Today, the Montgomery remains undefeated,
Century as a deck coat for navy sailors who required something warm and easy 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. such as Colmar or Paul Lamfrom’s Columbia. Here Miuccia Prada, a pioneer of
Nowhere in menswear is this more apparent than in the category of Technical the aesthetic-functional, takes the Linea Rossa back on track, while CP Company
Jackets. Look at the examples on this page by Lanvin’s Lucas Ossendrijver experiments with rubber fabric. A good technical jacket should be lightweight,
or Sacai’s Chitose Abe: they are both highly creative reconceptions of a totally should insulate, and should protect. When treated with the Thininsulate of
technical and utterly unfashion template established by purely outdoors companies 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 Sure, there are easier options to wear out there and these jackets do demand
World War II aviator jacket, with a sometimes-twist of Sherpa. The result a degree of dedication and care from the wearer. Yet despite their weight and
is a non-literal piece of analogue luxury. Just as it was when tailoring was the relative delicacy – avoid grease at all costs, and ideally rain too – a finely crafted
dominant urban menswear code, now that sportswear and synthetics reign shearling can generate a warmth unlike and emanate a sense of strenght that is
supreme wearing sheepskin in the city remains a shortcut to ruggedness. 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 communiqués is rarely deciphered - these patterns have endured beyond their
locales. Argyle is derived from the famous family tartans of the Scottish clans. original usage. Yet designers of menswear continue to whisper this decorative
Fair Isle developed in sea-bound isolation to become a richly evocative creative equivalent of Latin because of the beautiful visual syllables they produce. Enjoy
hieroglyph. Aran is a jumble of fishermen’s wives tales (derived from Guernsey). the way the patterns play on your eyes and savour the craft and precision that
Today the precise meanings within this evocatively knotty collection of intarsia 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 challenge with beautiful pieces of knitwear such as those shown here is that they
excellent addition to the urban masculine wardrobe. A lattice, rib or bobble stitch demand a degree of care to stay beautiful. Wash them cold, dry them flat, wrap
can add texture to the overall look, while a higher neckline will add definition them safe from moths when not in use, and shave off any pilling from time to time.
to the wearer’s jawline. Wearable under both formal and informal outerwear, a A hassle? Well, you get out what you put in: if looked after properly, any of these
fine wool, cashmere or vicuna sweater is an eminently versatile garment. The only 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 presents its with a heavy dose of irony, while Palm Angels and Off-White use
become a garment that emanates capably robust masculinity. With the exception patch and twist to refigure a staple. Less enunciated in their newness are the
of the house-mesmerising patchwork of our Versace example - a piece that is about luxurious versions presented by Alessandro Gherardi, N° 21, Sandro and Brooks
the heritage of the company it hails from - every shirt on this page is a delicately Brothers. In a technologically driven, office-bound world the check shirt reminds
articulated version of a much loved classic. Gucci lengthens its version, DSquared2 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 – gender imbalance. These menswear examples are divided into boardroom-
defining the classes of work by the colour of their collar still has relevance – ready, stone-cold classics (Kiton, Lanvin, Emma Willis, Gucci and Corneliani)
yet it is nonetheless a category vulnerable to the declassification of masculine and those that attempt to stretch the template: an Ermenegildo Zegna Couture
dress that has so affected the suit. Ironically, the arena in which the shirt has unusual colour and shape, an MSGM graphic, a Marni illustration and a Dior
blossomed most in recent years is womenswear: as designers here look to explore 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 is a material totally synonymous with fashion’s assimilation of the informal and
are the distant descendants of the roomy ‘cargo’ pockets first applied to British functional, while DSquared2 camouflage is an effectively attractive way to turn
military battledress. Designed to carry medical equipment and maps they a military motif into a peacefully pleasing aesthetic detail. Dirk Bikkembergs
were purely pragmatic additions to the pant that proved so useful they were new-season designs are original displays of the pocket as decorative detail. Leg-
adopted by the designers of workwear and sportswear too. Prada’s black nylon 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 painstaking disarray of Dolce & Gabbana’s ripped patchwork, or the ironic interplay
ubiquity in the city than denim jeans. They’ve travelled from the Klondike to of patches in Calvin Klein Jeans. Givenchy and Alberto strive for a Vetruvian ideal
conquer nearly every dress code in existence, and for their producers represent a gold of the jean, while PT Pantaloni Torino aims for the same via a more tailored cut.
rush far more reliable that the fleeting example that first helped to popularise them. Bottega Veneta plays with radical wash and Roy Roger’s rides a route defined by
Today, jeans are a myriad - as these excellent new season examples show. Check the 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. page hints, there is a contemporary intersection between the technical fearsomeness
They support the ankle, provide grip and traction, keep the feet warm and dry, yet of these boots and the almost baroque clumsiness of what’s cool in mens shoe shapes
allow them to breathe. The moulded soles and articulated uppers of these designs now. Wear a pair of these bad boys this winter and you’ll be nodding to the oversized
– all conceived for serious hiking and climbing expeditions – have been created to fugly trend that’s been on the rise for the last year or so, while doing your feet a
function rather than to flatter. Yet as the shape of some of the sneakers across this 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 Chuck Taylor All-Star’s infinite versatility. Saint Laurent by Anthony Vaccarello,
is precisely which sneakers are cool, and why. The Nike Air Max 95 is for sure Gucci, Kolor and Maison Margiela present fresh fashion iterations of the dad/fugly
2018’s key revival sneaker, a minor masterpiece of shoe design that merits its - but will they be as remembered 30 years hence as the Air Max 95 is now? Adidas’s
moment in the sun until it is supplanted by whichever style rises next year. J.W. delicately-moulded low-profile Sobakov, meanwhile, looks like an appealing
Anderson’s sunny collaboration with Converse is just the latest example of the 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 boot that’s much more classical in appearance. No mountain explorer worth his or
spread presented the best of 2018’s state-of-the-art designs - mountain boot her salt would choose a pair of Versace mountain boots to wear out of basecamp.
equivalents of the latest 4x4. This one presents the best new season old-school But for urban explorers with a fondness for classically robust styling these boots
luxury mountain boots - the equivalent of a tricked-out Land Rover Defender. are an appealing midwinter option which, as Jimmy Choo’s hybrid design most
All-leather uppers and Vibram (or Vibram-style) tractor soles make for a mountain 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 evening shoe: if you intend to have only one pair, point your feet in this direction.
certainly. Single welt? For sure. Evening shoes remain a low profile classic in the Corneliani’s patent leather and Dolce&Gabbana’s embroidered uppers point to a less
masculine shoe wardrobe, an essential that every man absolutely needs at least puritan iteration of the evening shoe that’s built for exhibitionists (and absolutely
one example of - even if only for weddings. Church’s and John Lobb present ideal not for funerals). Santoni and Moreschi’s detailing both represent a more classical
versions of the no-frills but exquisitely evolved made-in-Northampton English 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 slopes. This is not for the sake of showing off but for the sake of staying sentient.
pistes are never short of well-equipped posers whose drug of choice is white Chief of these is a helmet. A bit like cycling culture in the city, some winter-sports
powder. But all the gear in the world counts for nothing if you can’t carve or enthusiasts succumb to the dumbly masculine urge to reject the helmet-wearing as
parallel turn with a modicum of conviction. Certain purchases, however, are a sign of weakness. That’s an affectation you’ll live (if you’re lucky) to regret after a
worth lavishing the maximum funds upon, whatever your level of ability on the 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- day’s progress once returned to the shelter of your chalet, is a ski-watch that can
piste expeditions should also be equipped with GPS-equipped satnav – ideally log your route and altitude and also act as a GPS. When choosing your skis or
something that can enable rescue in case of avalanche. You’re also pretty dim your board, it’s a subjective decision that’s all about personal choice and brand
if you set off without a fully replenished water-bottle (although you can always affiliation. It’s not worth stressing about. Because once you’ve taken that first run
enjoy a snow-granita in an emergency). Less vital, but fun for tracking your 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


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230
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231
AFFAIRS

THE PITTI
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

REPORT
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
By Silvia Schirinzi 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.
Since its very first fashion show in 1951, Florence has evolved Much has been written about the tough times afflicting
the fashion-week format in recent years, particularly in
in tandem with the Italian fashion system to become the world’s the four main capitals of the international fashion system.
single most significant hub in the business of menswear. As Much has also been said about how important it is for
the industry to engage in the construction of narratives.
Courtesy Pitti Press Office

times have changed so has Pitti, constantly adapting itself to These identity-creating operations all flow into the lifestyle
meet the demands of the industry it serves. Here we examine melting pot that covers everything from clichéd storytelling
to refined curatorship.
the strategies Pitti has embraced to ensure its key role Right from its conception, the ‘mixed’ formula of Pitti
in defining the future of menswear in 2018 and beyond. Immagine has always flanked the trade-show event with

233
AFFAIRS L' U O M O NO. 002

TOTAL sound cultural programming. Pitti started as a hub for the description, is the fulfilment of a project “with the aim of
EXHIBITION flourishing local artisan and cultural fabric, and quickly reflecting on the creative relationships between fashion,
progressed to the runway shows held in the White Hall contemporary art, architecture and communication, and
SURFACE: of Palazzo Pitti from 1952 to 1982, where the big names the short circuit that triggers their interaction.” The special
59 000 M2 of Italy’s finest production and craftsmanship introduced bond that has been established with the city’s symbolic
(8 1/2 SOCCER themselves to the world. locations, and the way Pitti has reactivated them for the
Any account of Pitti must mention two years in particular. purpose of fashion, serves as a good example of functional
FIELDS) This first is 1954, the founding year of the Centro di interaction between public and private institutions, which
Firenze per la Moda Italiana (CFMI, or Florence Centre has historically been difficult in cities such as Rome and
for Italian Fashion), which from then on constituted the Milan. A significant case in point is Pitti’s optimal use of
organising body for all Pitti’s Florentine events. The second Stazione Leopolda, Florence’s first railway station turned
key year is 1972, which saw the official birth of Pitti Uomo congress and event venue.
after a handful of designers led by Walter Albini headed to Some of the most outstanding cultural initiatives
Milan in 1971 to present their womenswear collections. organised by Pitti include the 1997 performance by the
In the 1980s – during the exceptional period of Giorgio Béjart Ballet Lausanne company in the Boboli gardens with
Armani, Gianni Versace, Valentino and Romeo Gigli, among costumes designed by Gianni Versace; Giorgio Armani’s
others – the event went through a period of profound exhibition in the Uffizi Galleries during the 1996 Biennale,
rethinking. This phase culminated in the change of guard Valentino’s show at the Accademia Gallery, John Galliano’s
in ’89, when Vittorio Rimbotti became the new president installation in the Medici Chapels and that of Christian
of the CFMI (today headed by Antonella Mansi), and the Lacroix at the Orsanmichele Museum (which was also
directorship of Pitti, which became Pitti Immagine, was “occupied” in 2011 by a young Gareth Pugh). Then there
taken over by Napoleone, an appointment that represented was Hedi Slimane’s Intermission 1 installation curated by
the first step in the reorganisation of the company’s Francesco Bonami at Stazione Leopolda in 2002, Raf
management structure. Simons’ seminal exhibition in 2003 titled The Fourth Sex:
“From 1989 to the second half of the ’90s,” explains Adolescent Extremes, again curated by Bonami at Stazione
Napoleone, “our aim was to establish a primacy by working Leopolda; Matthew Barney’s presentation of Cremaster 3 at
with the greatest international designers, from Vivienne La Specola Museum of Natural History in 2002; and more
Westwood to Giorgio Armani and Valentino. We sought to recently The Ephemeral Museum of Fashion retrospective
offer a unique platform, as in the case of the two fashion curated by Olivier Saillard (who was named Pitti’s artistic
biennials [in 1996 and 1998] which developed from an consultant in 2018) at the Museum of Costume and
enlightened idea by Luigi Settembrini and the permission Fashion in June 2007.
to use Florence’s museums granted by the then Minister of Analysing the attendance figures since 2008, it is
Cultural Heritage Antonio Paolucci.” apparent that Pitti has managed to remain relatively
In the meantime, the CFMI diversified its activities insulated even in a period of wider economic uncertainty.
and partnerships in support of fashion, from trade shows The Florentine event’s buoyancy undoubtedly owes much
to large-scale cultural events (the Florence Biennale), to its tried-and-tested hybrid structure. In 2007, Italian
Source: Pitti Foundation
education (the Polimoda fashion school), overseas shows men’s fashion enjoyed its first significant increase in sales
(the Ente Moda Italia events) and publishing (with the since 2001, particularly thanks to exports to Russia, China
Edifir publishing house). and Hong Kong, while exports to the United States
The year 2002 also saw the launch of the Pitti Immagine and Japan dropped due to the strength of the euro. It’s
Discovery Foundation, which, according to its official interesting to reflect on these scenarios just over a decade

Germany
THE WORLD AT PITTI
Japan
International buyers in Florence in June 2018

United
Kingdom Spain
Netherlands
People’s Republic
France of China
United States
Turkey
Switzerland

922 757 539 529 490 389 372 340 293 268
South Korea Belgium Russian
Austria Portugal Federation
Greece
Sweden Denmark Hong Kong Poland

236 231 167 167 166 146 122 121 101 97


234
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 L' U O M O NO. 002

5
OTHER later, as they reveal the extent of continual global fluctuations in an increasingly
MEN’S 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
FASHION January 2015, when Pitti Uomo welcomed a total of 35,000 visitors and 24,000
SHOWS buyers, of whom 8,660 were foreign (an increase of 11% compared to January
WORLD 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
WIDE 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.
— Fashion Source (Shenzhen) Staging an edition of Pitti is no mean feat. Alongside 62 permanent
At China’s biggest trade fair for employees, the organisational machine involves 1,200 people and 70 companies
OEM/ODM clothing, exhibitors
include production-only 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
as well as firms that design and was 38.5 million euros (up 5% on 2016). Although it’s not easy to calculate Florence cannot be
manufacture their own goods. From
28 to 30 November.
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
Ñ The Fairyland for Fashion (Paris)
The event organised by Messe
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
Frankfurt brings together France’s top as Pitti Immagine, the value for allied industries is ten times the total turnover even in the well-made
trade fairs: Apparel Sourcing, Avantex, of the events themselves. We can therefore estimate that the local area receives
Texworld Paris, Texworld Denim, about 400 million euros in spill-over earnings as a result of Pitti Immagine.”
halls of Germany, the
Shawls & Scarves and Leatherworld. Pitti’s evolution has not only relied on the fruitful intersection between UK or China. We
In September and February. 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
— Premium Exhibitions (Berlin) fresh talent, and the final selection is often the result of long and laborious of experience people
Boasting 60,000 visitors and 1,800 commercial negotiations. Pitti’s focus on new talents also emerges in its backing
brands, the trade show takes place of special initiatives such as the Who is on Next? contest in collaboration
have in Florence
at the STATION-Berlin in July and with Vogue Italia and the International Woolmark Prize, or the founding simply wouldn’t work
January. From 15 to 17 January 2019. 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
— Texworld USA (New York) perspective. With Pitti’s transformation into a cultural phenomenon, the elsewhere.”
This is the comprehensive event’s crowd of ‘peacocks’ has undoubtedly found its way into the collective
sourcing event for fabric buyers, imagination over the last ten years. These immaculately dressed fashionistas — Raffaello Napoleone
R&D specialists, designers and are unfailingly photographed posing on the low wall of Fortezza da Basso, CEO of Pitti Immagine
merchandisers. From 21 to 23 January stoically heedless of Florence’s often suffocating heat. The theme of the 76th
2019 at the Javits Center. 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
— Textile Forum The Fashion ‘influencers’, they were described in the event’s closing press release as the new
Fabric Show (London) ‘consum-authors’ of fashion. By June 2016 the Pitti Peacocks had even earned
The best-known platform for sourcing themselves a documentary, or rather a mockumentary, titled The Life of Pitti
top-quality fabrics is attended by Peacocks by Aaron Christian. And they’ve also stirred up many heated debates on
luxury buyers and department stores. the pointlessness of street style (always an object of scorn) at fashion week. Or
From 10 to 11 October. rather at Pitti, since they’re two different things.

PITTI’S PITTI 2001-2017


WORKFORCE YEARLY BUYERS ATTENDANCE & TURNOVER
40000
62 40M
Direct Employees
1,200
Suppliers, 35000
Security, 35M
Cleaning
30000
30M

Italian Buyers
25000

6,162
25M

400
Hosting Overall Workers 20000
20M
Foreign Buyers

4,500
Riggers
15000
15M

number of buyers
revenue in € 2001 2003 2005 2007 2009 2011 2013 2015 2017
[estimate]

236
AFFAIRS L' U O M O NO. 002

GIUSEPPE MONDANI:
TASTEMAKER By Paolo Lavezzari

Giuseppe Mondani joined Condé in importance and relevance. We’ve a lot of freedom and a strong will to of reference for men’s fashion.
Nast fresh from university at 21 years been a part of the product as much as do things, which opened the way to It’s unique in this sense. It continues
old on 1 January, 1968. Today, after five fabrics and buttons. And an important experimentation. When one decided to be a great occasion for building
decades in the same company, he has part, too. We encouraged designers to to create a new magazine, no market relationships and contacts, and I think
the extremely rare eye and, above all, create their own collections, do run- research was done beforehand. there’s still a strong element of research.
the experience of a master ways under their own names, and to
mariner who has held and plotted no longer just create styles for other L’U.V. What was the role of Pitti? L’U.V. Let’s talk about the present.
courses across the high seas of the companies. They had the vision and
fashion world. During these voyages we had the models and photographers. G.M. It has been a driving force for G.M. I often joke that, when things
he’s witnessed victories, shipwrecks, We put all our means of communica- the system, just like us. It’s a showcase are going well, lots of donkeys look
raids and revolutions. Not to mention tion at the disposal of these emerging for all names, where you can make like racehorses. But with all the
a dizzying number of Pitti shows. talents. Our weapon and our language contacts and obviously do business. difficulties of today, lots of racehorses
was photography, the ability to make Pitti Uomo in particular, which was look like donkeys. The positive thing
L’UOMO VOGUE: What was the fash- images. In particular, with L’Uomo launched in September ’72, had a nowadays is that the market is so vast.
ion world like on 1 January ’68? Vogue we successfully generated an strong start thanks to the experience But this is also why approaching it is
aesthetic desire around the world of and image that had been built up with complex and demanding in every
GIUSEPPE MONDANI: There was men’s fashion, which in many ways women’s fashion since the 1950s. respect – finance, creativity, organisa-
hardly anything. There was no prêt-à- matched or was even greater than the Research was the common tion and distribution.
porter, just haute couture. Our biggest desire in womenswear. denominator between L’Uomo Vogue
clients were fabric manufacturers. and Pitti Uomo. Both of us were L’U.V. What function do magazines
L’U.V. How long did that period last looking for firms to give them the like VI and LUV have today?
L’U.V. What role did magazines like and what made it special? chance to make themselves known to
Vogue Italia and L’Uomo Vogue play in visitors and buyers on one hand, and G.M. I’m convinced that the task of
that world? G.M. It began in the early 1970s and to readers on the other. constructing images is inescapable.
went on for at least 25 years. There It’s the job of fuelling dreams, being
G.M. The thing that has distinguished was an amazing generalised creativity L’U.V. What is Pitti today? able to inspire imaginations and de-
Condé Nast is its status as a publisher that resonated well with the market- sires. In such a consumerist world, the
of the system. We’ve helped the fash- place. Publishing expanded because G.M. These are hard times for the stimuli fuelling people’s dreams have to
ion system and its companies to grow the market expanded too. There was business, but Pitti is still a solid point 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 L' U O M O NO. 002

CHOICE CUTS:
THE FRESHEST
THOUGHTS ON
MENSWEAR IN
THE PRESS
Edited by Silvia Schirinzi

“What It’s Really Like to Be Black “The Prada Flame Shirt “The Death of the Plain, “How The Art of Woman-repelling
and Work in Fashion” Is Performance Art” Preppy Sneaker” Finally Entered Menswear”
by Lindsay Peoples Wagner by Troy Patterson by Chris Chafin by Lauren Sharkey
From The Cut, August 23, 2018 From The New Yorker, July 22, 2018 From Racked, August 29, 2018 From i-D Magazine, July 5, 2018

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

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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 Photo Takay/Trunk Archive.
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 Giovanni Gastel Fashion Photographer
like in England, Italy, the Ivy League or Germany. However, the
“I don’t wear a tie unless it’s to please the person who
French do have their own distinctive approach to clothes, using them
as a means of self-expression, mixing them up and sometimes adding NO invited me,” says Giovanni Gastel, who is practically
a touch of bad taste.” So what’s the essence of dressing as a man in resigned to the idea that ties are doomed to obsolescence. “To my mind,
2018? “I’d say my customers have decided to let go of adolescence and they just seem like a totally useless piece of cloth nowadays. I’ve always
accept adulthood. They’re conscious of growing up and belonging to a preferred to substitute them with shirts that have unusual, almost cold
lineage of men who have passed on their acquired knowledge from one designs. For me these details stand in for the tie, even if I’m wearing a
generation to the next. And that’s what classic style is all about: lineage, dinner suit. Of course, I put on a tie if the occasion requires it, and if
style icons, history and handing down heritage. I’d like to persuade I’m wearing a tuxedo somewhere I don’t go without a bow tie. But it’s
young men that suits aren’t just for dandies and bankers. Rather, suits an item of clothing I only wear if my host expects me to. Otherwise
are a blank page where you can do what you like,” declares Garbard. In my ties would never make it out of the wardrobe.” At the risk of stating
the final analysis, he is convinced that today’s young men shouldn’t wear the obvious, the word that best sums up Giovanni Gastel is elegance.
ties to follow old rules, but “for the pleasure of adding another way to As much as defining his public persona, it is also the hallmark of
communicate something about themselves.” 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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AFFAIRS L' U O M O NO. 002

MIXING WITH
THE MARTINEZ
By Samira Larouci

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AFFAIRS L' U O M O NO. 002

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 NO. 002

FEDERICO
CURRADI:
ON MEN AND
WOLVES
By Nick Remsen
Photo by Pasquale Abbattista

Federico Curradi is on the phone from an island in the Italian sun. The What, then, will Rochas render? Ferrant’s aesthetic was arguably
cellular service is terrible. “Hold on,” he says, laughing. “I need to stand antipodal to Curradi’s; she favored a slicker, more Euro-urban look.
in the exact right place and the exact right position to get reception.” “Rochas is a very iconic French brand and the name is very… luxury,”
It’s the first hint of Curradi’s convivial demeanor – an attitude and says Curradi. “I won’t do 100% of everything I am doing with my
personality that is clearly reflected in the clothes he designs for his own brand at Rochas, but, sure, the same rules need to apply. I want
namesake label, as well as what onlookers might expect with his debut everything to be natural. We will select really special, really luxury
at the helm of Rochas menswear in January 2019. (Curradi was hired fabrics. I think that what is important for this new project, now, is
at Rochas in mid-2018, following the departure of Béatrice Ferrant that it has to be beautiful in a modern way. And by modern, I mean it
in late 2017 – Ferrant had only produced two seasons, and before that, needs to be rooted. Because I think if you can do something that has
the label’s men’s branch had been inactive for 22 years. Curradi’s prior consciousness, it’s more modern than anything else.” The sentiment
experience includes stints at Iceberg and Roberto Cavalli.) sounds promising; a fresh, firmly considered beginning for a house that
Curradi’s own company is now in its fourth season. The aesthetic, had, frankly, a false start in its restart.
especially for S/S 2019, can be described as lived-in, outsized, relaxed, As he cultivates his label and settles in to the rhythms of Rochas,
comfortable, and even surf-like, if the Tuscan coast had waves. “It’s a Curradi will remain living just outside of Florence. It is his longtime
very small brand,” says the designer, “but it’s got a lot of ambition. It’s home – and he has more than a few houseguests to take care of. “I love
eco-friendly. All the production is around Florence, and all the factories animals,” he says. “I have cows, horses… I have five wolves.” Wolves?
we work with have to respect the environment.” The line also does not “Yes… at the end of the day, wolves and dogs… they are the same,” he
use “luxury leathers, plastics, or nylons,” but, rather, it features natural says. (To note, a wolf motif made an appearance in his debut collection,
materials ranging from cottons to linens to wools to cashmeres to silks. F/W 2017.) Curradi adds: “You won’t believe this… the oldest one, he
Curradi’s latest collection promises a “modern mindset,” with loosened, turned 17 years old at the end of last year. He is probably the oldest wolf
off-the-body shapes and a beach-bum insouciance that is often hard to alive in the world. I think it’s a record for wolves.” He chuckles, and as
find in Italian men’s fashion. “After four seasons,” he says, “people are he does, the phone cuts off: it feels like a good time to let Curradi return
starting to appreciate the value of our materials, design and research.” to plotting his vision of beautiful modernity menswear.

244
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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BEAUTIFUL