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operation london bridge

Pubblicato il da monchou_admin
04
Ott

After seventy years of reign, at the age of ninety-six, Queen Elizabeth II passed away on 8 September 2022. Needless to say the impact the news had on the entire world. This was for many reasons, starting with the extraordinary longevity of her throne. Thus began operation ‘London bridge’, the protocol to be followed on her death throughout the UK. She was undoubtedly an icon in history, but also in fashion. Everyone remembers her colourfull suits, hats, gloves and handbag. Distinctive signs that made her a woman with a strong personality, also stylistically. The principle she followed was ‘having to be conspicuous to be believed’ and what better way to appear than with her hyper coloured looks? But not only that, her looks hid very specific secrets, for example depending on how she wore her handbag it meant that she was interested or not interested in a speech. She was true to fashion, but fashion is also true to her. Many stylists have spoken beautiful words at her death: from Giorgio Armani to Donatella Versace. From 16 to 20 September, the city of London hosted fashion week for the presentation of the spring summer 2023 collections. On this occasion, major brands such as Burberry and Raf Simons cancelled their event as a mark of respect for the mourner. Burberry then showed on 26 September at 12 noon, straddling the end of Milan fashion week and the beginning of Paris fashion week.

In addition, all activities that might remind one of a joyous celebration and event were banned, so London once again fails to take back what it has lacked in recent years. Some designers, however, decided to pay homage to the Queen with simple gestures, as JW Anderson did, for example, by bringing on the catwalk a dress with a special ‘Her Majesty The Queen, 1926-2022, Thank you’ written on it. Queen Elizabeth has truly left her mark in every field, in fact songs, films and TV series also speak of her. The Crown is the series par excellence, dealing with the life of the Queen and the royal family. Filming of the sixth season was suspended as soon as the news of the Queen’s passing came out, but there were many viewers who decided to watch the series at this very moment, some out of simple curiosity and others to understand more about the life of this icon. The funeral was held at 12 noon (Italian time) on 19 September. A truly emotional moment in which everyone was able to say goodbye to the Queen for the last time. The whole day was organized in every detail, starting with the procession led by King Charles and ending with the burial of the body at 8.30 p.m. in the Royal Vault, St. George’s Chapel. A ceremony that represented the end of an era, which will never be repeated in the same way.

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erica fava: interview

Pubblicato il da monchou_admin
04
Set

You started your career as a fashion photographer in 2004, have you come across discrimination of some kind?
I have never suffered discrimination or at least I have not noticed it. In some cases, however, it seemed to me to be considered or not for a job because of mine young age. Even today on the set, it happens to me that some of the staff ask me “You know when does the photographer arrive?” Perhaps we are still tied to this retro image of the photographer, a dark character in his 60s.
Describe your style with this sentence: “Too young to be classic, too much classic to be young”, can you explain better what you mean?
This phrase was born as a joke during a chat with a colleague. Work as a fashion photographer, but I was born and live in Rome. Rome is a city that it certainly leaves a mark on those who live it, here we are strongly influenced by art classic and often the creatives who come from this city are considered “ancient” or “too classic” by Milanese or Northern European colleagues. As Romans, we often live with a sense of inferiority towards other colleagues, whom we often perceive as more “young” or in any case more focused on some international trends. Like Romana though I’ve always been atypical, perhaps because of my Scandinavian origins, perhaps because of my great interest in fashion photography that I have always seen in international magazines. Therefore at the end of the day, I am a creative Roman, not very classic to be considered Roman and too little “young” to be considered international.

What do you think you have learned from this work, both personally and from the professional one?
In my life, the personal and professional spheres not only intersect, but also mix; I think it is the only way to make these two realities coexist in serenity. Thanks to this profession I have learned not to despair, not to get upset if one thing it does not work: not to panic. This is a job full of unexpected events, you have to learn to let some situations slip over you in order to manage everything serenely. Another thing I’ve learned is to bring lightness and lightheartedness to the set. Do not it’s rare to hear me sing funny songs or do little shows for the people who are with me
on the set. Relieve tension and make time go by faster and more light. I often say, “I’m not going to be good at taking pictures, but at least I’ll make you laugh.”
In recent months you have started a casting of particular faces for the Romans project, which you shot on three different days in June. Can you tell us what’s behind this idea?
Romans is a project that I care a lot about. About a year ago I started collecting interesting faces about Rome, people I wanted to involve in a project. In June I organized 3 days of shooting in which I invited over 100 faces to be photographed and to have them answer some personal questions and about Rome. The project is now ready and I hope it could soon become a book and at that point I will be able to reveal a few more details to you.

What do you think is more difficult in the profession of photographer, especially in fashion?
Much of the work is made up of contacts, if you don’t know each other or if you can’t reach the right people with your shots, you end up having few results. At the beginning I found this situation frustrating, then over time I realized it too often, having to choose collaborators or assistants, I prefer to turn to people I know, so I can’t hold a grudge against a system that works exactly like me.
One thing that unites many of your shots is the peculiarity of the photographed subjects, what do you try to highlight in the subjects you photograph?
I like to photograph the particular faces, the huge eyes, the protruding chins, the big noses and the pronounced cheekbones. The “common” beauty bores me, those that in our work we call “commercial faces” rarely fascinate me.

The fashion system and image representation are constantly evolving,What direction do you think fashion photography will take?
For several years, immediate and less artificial-looking photography has been all the rage: Photoshop, perfection and symmetry in the shots are barely seen (except in the pages of some influencers). I expect a U-turn, the Baroque is around the corner.
From the backstage of your projects you always seem to have a lot of fun, what aspects of your work do you find most enjoyable and fun?
I don’t want to convey the message that on my sets you laugh, dance and don’t work, actually there are moments of great concentration when you laugh very little. As I said, I prefer to entertain my staff, so if possible I try to entertain everyone. I love model preparation, I often use that time to socialize with the rest of the team. Another good time is when “the blow comes”. And very strange, everyone is focused and at some point we realize that we are taking one of the best shots in our portfolio, everyone is excited in front of the screen and the emotion takes over.

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iris apfel more is more and less is a bore

Pubblicato il da monchou_admin
04
Set

August 29, 1921, New York.
Just a few days ago it was her 101th birthday: Iris Apfel, born Iris Barrel, is an artist, interior designer and style icon, a source of inspiration for children and adults. Big round glasses, short white hair, red lipstick, lots of accessories and mixed patterns: just reading this identikit you can’t help but think of her. She is a curious, creative and enthusiastic woman of life, who has always been in contact with many different realities that have made her the phenomenon that she is today. “Life is gray and monotonous, you have to have fun and entertain people when you get dressed”, with this sentence taken from the 2014 documentary Iris it is possible to summarize his entire existence dedicated to fun, especially through the combination of clothes and accessories from all over the world. Accessories to which she is linked thanks to her mother’s influence and which have become her strong point, what can never be missing in her looks, often mixing flea jewelry with accessories of the highest level. In the 1940s she was one of the first women to wear jeans, despite the shopkeepers themselves trying to dissuade her from doing so because it was considered a purely masculine garment. Two years after her marriage to Carl Apfel, in 1950 they founded the Old World Weavers textile industry together. 

Her career as an interior designer has allowed her to come into contact with particular colors, fabrics and patterns that have brought her ever closer to her eccentric and extravagant style, but always chic and super recognizable by anyone. It was in 2005 that she was honored with an exhibition “Rara Avis: The Irreverent Iris Apfel” at the Metropolitan Museum of Art dedicated to her bijoux. An event with an extraordinary resonance, despite the only way to sponsor it was by word of mouth. From that moment it has been just a crazy ascent for Iris Apfel. An enterprising personality, always ready for new challenges: his Instagram account has 2.3 million followers and is very active, offering pills of style but also of life and in 2019, at the age of 97, he signed a contract from model with IMG models, one of the most famous agencies in the world, the same as Gigi and Bella Hadid. In her long life he has gone through and observed all the changes in fashion, knowing the most famous stylists and photographers in the sector, without ever adapting to the sudden succession of trends but always keeping her identity solid. “More is more and less is a bore” is his motto, which underlines his desire to always be over the top, daring and experimenting. Her determination, the desire to change things and, as she herself says, the desire to “be in the world and part of the world”, these are the characteristics that have consecrated her as an icon of hers.

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arianna gamberini: interview

Pubblicato il da monchou_admin
04
Ago

In 2019 she attended the Italian Image Institute and today she teaches armocromia courses herself. How do you live the teaching experience?
I never thought it could give me so much satisfaction and emotion to teach. Being able to pass on my knowledge and my passion and see it reflected in the eyes of other people is a unique emotion and it is the same every time. In teaching, as well as in my work, I put my heart and soul and the greatest satisfaction is to see the people who have taken my courses achieve their goals and dreams. This makes me feel part of their history, makes me feel like a better person.
Why do you think that armocromia has depopulated in recent years and how much has its diffusion influenced the fashion sector?
In recent years, yes, the color scheme is literally depopulated … despite the fact that it was born a long time ago, when cinema changed from black and white to color. I believe that in general, in the last period, there is more sensitivity towards one’s body and one’s image, but above all the desire and desire to feel good about oneself, without homologation and without making too much effort. In my view, there is still some work to be done for the fashion sector, in the sense that brands have not yet fully approached this world, while in my opinion it could be of help to many people.

Self enhancement today is a crucial issue, how does the color scheme help to go in this direction?
Certainly, the color scheme, as well as other advice, such as shapes and style, help to enhance us without making us feel wrong or “out of place”, bringing out the natural beauty that is in all of us, no one excluded. Thanks to the right colors, we no longer need to overload makeup, for example, because color has the power to illuminate and enhance us, effortlessly. We will no longer feel wrong if the color of that coat or that lipstick does not suit us, because it is the color that is wrong for us and not the other way around.
What are the aspects you love the most about your job and which do you think are the most difficult?
Well, surely the smile of my clients when they look in the mirror with the right colors, the emotion I see in their eyes and knowing that from that day on, despite everything, despite all the insecurities, they will be more aware of their beauty. The satisfaction that the affection and love of people gives me. There are no difficult aspects regarding my job, but certainly having a business requires 100% (sometimes even more) of the energy and when you have your own business you never stop working, consequently the time for myself is often lacking, but satisfaction pays off all the effort.

Colors are essential for conveying emotions, feelings and moods. For some years now in fashion combinations previously considered incorrect have been cleared and it is possible to be more daring. What do you try to convey through color?
Fortunately, yes, in this way we can choose how to communicate best, without impositions, as when it was said in the past that blue and black could not be absolutely combined together, yet it is one of my favorite combinations (and also of Armani)! Color helps us to convey who we are and what we want to communicate (even what we don’t want to communicate, not wearing a certain color). For example, I’ve never worn red, it was a color I preferred to avoid, probably out of insecurity, I think. Now I wear it very often and I feel perfectly comfortable, perhaps because now I feel ready for that color and for what it conveys.
When and how did you understand that the path you had previously taken was not the right one, thus starting to devote yourself to the science of color?
I have never felt in the right place at the right time as in this moment, so in a sense I have always known that.

I have always had a passion for fashion, for beauty, for aesthetics, for furniture and photography. I have taken several paths previously but there was always something that made me say: “Is this what I was born for?”. Everything became clear when I first discovered the color scheme and the first day of training, because this work combines all my passions, predispositions and interests. What is destined for us will always find a way to reach us.
I have read that fashion has always been a great passion of yours, what fascinates you most about this world?
Since I was a child I used to choose clothes by myself and I had my favorites, I still remember them! I enjoyed shopping with my mom rather than going to the zoo, for example. I am fascinated by the fact that through fashion, through clothing, we can speak without saying a word. The habit does not make the monk, they say … and from a certain point of view I agree, but it is through the habit that we communicate, in part, what we are, or rather, it is through the habit that we decide what to communicate and there is nothing more beautiful than freedom of expression!

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the beginning

Pubblicato il da monchou_admin
04
Ago

There are no words to describe the show and the emotion given by Valentino’s great return to Trinità dei Monti, a breathtaking parade that will surely be remembered in history. Shiny, colorful dresses with different and refined materials have given life to one of the most appreciated and admired squares from all over the world: the majesty of the Eternal City, in fact, perfectly framed the event, giving guests an unrivaled spectacle. The Beginning is the name given to the show that has the task of presenting the Autumn/Winter 2022/2023 collection, and underlines a new beginning, a return to the city where time seems to magically vanish. The creative director of the maison, Pierpaolo Piccioli, wanted to shift attention from Paris to Rome, restoring prestige to one of the most beautiful catwalks of all time and a symbolic place for Valentino. In memory of the old days, he too wanted to pay homage to the people who made this show possible: the parade ended with the seamstresses who, enthusiastic, excited and proud of their work, came down the steps, led by Piccioli, of Piazza di Spagna and then return to the atelier in Piazza Mignanelli, giving an exciting conclusion to the event. The theme of this new beginning, while in step with the times, was undoubtedly inclusivity. Models of different ages, ethnicities and physicality paraded with grace and elegance, underlining that beauty, in all its nuances, is visible to those who can see it, putting in the first place the idea that each of us is unquestionably unique. “In Haute Couture there are no schemes, there are no maps, there are no traces, if not those of the soul” is how Piccioli describes the magic of his staff’s work through a variegated palette, ranging from apple green to fuchsia pink, purple, silver, black and the famous Valentino red, gives life to a dream, made possible also by the voice of the songwriter and record label Labrinth, who lent his voice during the show. However, let’s not forget that the protagonists of the event are dresses with heterogeneous volumes and shapes: tulle and organza, feather crowns, 50 meters of hand-finished hem and chiffon cloaks, give to official guests, and to curious courses in the streets adjacent to the square, an unprecedented spectacle. We are not talking, obviously, only of the 103 dresses tailored for the fashion show, but also of the gifts from Valentino’s guests, who showed off clothes, accessories and shoes from other collections, as if they wanted to sign the entire event with the name and colors of the maison. Anne Hathaway stands out among all, in a pink pink PP mini dress studded with sequins combined with the iconic Valentino Gavarani Tan-Go 15cm platform décolleté model; in the same shade, created by Pantone specifically for the latest fashion show, we find Ariana De Bose who, together with Kate Hudson, in total black, and Zendaya, the face of the brand, represent the Hollywood world. She could certainly not miss, sitting in the front row next to the founder Giancarlo Giammetti in white, the director of Vogue America Anna Wintour in a red and white suit with a floral pattern. The Black Venus, Naomi Campbell, opted instead for a black and white look from the Valentino Anatomy of Couture Spring/Summer 2022 collection, accessorized with Valentino Garavani shoes and glasses. Totally dressed and accessorized by Valentino too, Laura Pausini is presented in the shade that made the designer famous all over the world; other local artists such as Alessandra Mastronardi, Kasia Smutniak, Valentina Cervi and Mara Venier, opted instead for a total black; while they dare more, with bright colors like fuchsia and green, Elodie and Drusilla Foer.

The Beginning, will surely be remembered as the fashion show that, recalling the past but with a modern look and looking towards the future, managed to open the doors to a new conception of fashion, in which beauty and color are the key to representing the soul and history of both those who produce the clothes and those who wear them.
Fashion in Rome: is it so easy to erase history?
It was the Thirties when three girls from Traversetolo arrived in Rome with the aim of seeking their fortune and thanks to their determination and courage they created Italian high fashion here. Zoe: soul of tailoring, guided by a strong resourcefulness. Micol: great traveler, who travels all over the world. Giovanna: soul of the laboratory. In 1943 they created their Sorelle Fontana brand by opening the first tailor’s shop in Via Liguria and starting to serve all the Roman noblewomen. Their career is marked by two major trends: cinema and weddings. It is in fact thanks to a wedding that the spotlight turns on them: we are in 1949 when Linda Christian commissions them the wedding dress for the wedding with Tyrone Power and from this moment they reach Hollywood and all the most important celebrities of the time such as Audrey Hepburn, Elizabeth Taylor and Grace Kelly. Fashion in Rome, and in particular Italian high fashion, has always had great importance until it suffered a setback, when all the activities in the sector arrived in Milan. The fact that names like that of the Fontana Sisters today do not appear in many books and are unknown to many, reflects a reality that makes us understand how history can be erased too easily from the common imagination. Valentino, under the creative direction of Pierpaolo Piccioli, today brings Italian high fashion back to the capital with the Haute Couture fall winter 2022/2023 fashion show entitled The beginning, held on July 8 between the steps of Trinità dei Monti and Piazza Mignanelli, the place where Valentino Garavani founded his first atelier in the 1950s. The goal is to revalue Roman fashion and the beauties of the city, even going beyond fashion itself, for example by financing the replacement of the two palms that symbolize Piazza di Spagna which have long been attacked by the red awl. On the other hand, Rome, even if in the background, never stops contributing to the fashion system. Two editions of AltaRoma’s Roman fashion week are held every year, one in February and the other in July, where still little known designers have the opportunity to get noticed by all professionals in the sector. This year even more, with the same goal as Pierpaolo Piccioli, we wanted to highlight fashion in Rome thanks to the 11 finalists of “Who is on next? 2022” fashion show in Piazza Campidoglio on July 12, with a jury exception made up of big names, including Francesca Ragazzi (Head of Editorial Content of Vogue Italia). AltaRoma, however, is not only this contest, but also fashion shows of students from the academies of the capital and of more or less emerging brands, flanked by three days of showcase in which it is possible to create contacts between brands and the press, but also between brands and consumers. What is worrying, however, is the little interest in fashion shows and showcases of still little-known brands, which especially in this July edition have come to terms with a city already partially on vacation. Bringing fashion back to Rome is undoubtedly the goal, not only for Pierpaolo Piccioli and Altaroma. Rome is the city of cinema and it is precisely here that a new wave of celebrity stylists could make their way.

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alex polidori & sara libidi: interview

Pubblicato il da monchou_admin
04
Lug

Hi Alex! You are only 26 years old but your career is already full of many successes, what is the most important lesson you have learned from this world from a professional and personal point of view?
Surely the fact that there is always something to learn and improve. This profession constantly tests you because each character is different from the others and you have to grasp every nuance of him. You cannot lean too much on what you have learned up to that point. Each dubbing turn teaches you something and also gives you awareness of some limitations you have and need to overcome.
You are the voice actor of characters who have entered the hearts of many, but which character has entered your heart most of all and in which one do you reflect yourself more?
Peter Parker, Spider Man, is the one I am most fond of because he is the most loved by everyone and has given me the opportunity to enter the hearts of the fans. Many say they appreciate the character also thanks to my voice and this is a source of pride and great satisfaction. But beyond the success, I love it just as a role, also because sometimes it seems to dub two different characters. When he is Peter he is more introverted and awkward, static, often intimidated, when he instead he wears the costume he is more cheeky, ironic, dynamic and heroic. All of this is very inspiring for an actor.
We always talk very little about the work of a voice actor, what are the difficulties that you most often encounter?

The union of technique and talent. You have to be a good actor but also pay attention to the timing, diction and vocal output. Also, you have to act like another actor did in another language. And find a way to return the same emotions by gluing your voice to the face of the other, following his lip, his expressions, making the meaning of each joke well understood and without leaving that well-defined trace from the original version. In short, the real difficulty is combining all these technical skills while remaining faithful to acting. It is not easy at all, since we are in an anonymous and dark room and not within a set where you can help yourself with the body, the movements and identify with the character thanks to the scenography and the interactions with the other actors.
You are part of a very noble project that is “The voices of the heart onlus”, can you explain better what it does and what is the main objective?
Voices of the Heart was born from the idea of some colleagues to use our acting and vocal skills and the great empathy developed, also thanks to this work in which empathy and sensitivity are fundamental requirements, to give smiles to those who need it most. We often move between hospitals, family homes and other complicated realities to give a few hours of entertainment and make ourselves useful. There are those who read fairy tales to children, those who try to have the kids dubbed by recreating a mini dubbing studio, those who recreate superhero fights (also thanks to the help of some cosplayers), those who simply chat with the elderly. We try to use our superpower which is the voice, to try to make people dream, smile or simply give comfort and lighten the days of those who usually experience really heavy ones.

Among your greatest passion is singing, which you approach from an early age, is there something that you find in singing and instead you miss in dubbing?
Contact with the public is something that doesn’t exist in dubbing. Or maybe it’s indirect. I really like being on stage and interacting. Surely that is the thing that is missing from dubbing, even if thanks to social networks we are bringing the public more and more into our world, and finally many people are starting to know more about the voice actors who have always listened to but who have never seen. They are both wonderful artistic avenues, privileged and in which I can express myself 100%. Often the two come together in sung dubbing and when it happens it becomes really fun for me.
Hi Sara! You approached dubbing from an early age and it has always been a crescendo ever since. What do you like most about this job?
I started this profession at the age of 7. Initially it was like a game for me to go into the recording room and give voice to cartoon or movie characters. It is a job that never bores you because every day you have the opportunity to play different characters, and maybe go from dubbing a cartoon in the morning to an action film in the evening. It is a profession that gives you so many emotions. Very often I hear from the audience that hearing my voice in a film is always exciting and that makes me really happy.
I’ll ask you the same question I asked Alex. Which of all the characters you’ve voiced has entered your heart the most and in which one do you reflect yourself the most?

I am honest, in every character I dubbed there is something of Sara and therefore in some way I am connected to everyone. But there are some characters like Arya Stark from Game of Thrones or Debbie Gallagher from Shameless who have been part of my growth. From my 13 to my 23 years, they have been part of my life and for this reason I am most fond of them.
Is there something or someone you inspire yourself to do your job better?
I have always been inspired by professional colleagues who have followed me since I was a child, I was very lucky to have them as teachers. In my first works I was directed by Sandro Acerbo, Massimiliano Manfredi, Ilaria Stagni, Isabella Pasanisi, Tonino Accolla and many others.
What do you remember about your first ever dubbing? What sensations did you feel?
Unfortunately, I remember little of my first dubbing because I was very young. I remember the atmosphere of play and fun that was in the recording room. I remember the shrewdness on the part of the director, sound engineer and assistant in making me feel at ease. The biggest emotion was hearing myself on TV at home with my parents.
What are the main differences between the dubbing of a character in a movie and that of a cartoon?
As for the cartoon, perhaps we are more free to express ourselves because we don’t have too many facial expressions to follow, as happens when dubbing a film. In voicing another person, one is more limited by the original interpretation.

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antonio mancinelli: interview

Pubblicato il da monchou_admin
04
Giu

I read that you have a degree in Law, what made you understand that fashion was the right choice?
The truth is that the law degree was a request from my parents, especially from my father who would never have wanted me to deal with fashion, also because in the 80s it was inadmissible that a man could deal with these topics, in fact I was the first man in the field of fashion journalism. I must say that it was very interesting because I was studying at the Academy of Costume and Fashion, at the university and at the same time I started writing very young, at the age of 21. All these experiences have served me, for example the degree in Law has served me for everything related to copyright or copying, which I am very passionate about. Just as the academy was important to have a more technical type of preparation regarding clothes. I believe that the more things you know the better is, even if they are apparently dystonic with each other, because they still provide further tools for decoding the world. Fashion has always been a great passion for me, even quite extreme. I was interested in the creative and expressive aspect of fashion, in fact I also had experiences as an actor and photographer.
You have always advised your students to be curious and hungry for knowledge, also and above all through tools that apparently may have nothing to do with fashion.

Do you believe that the advent of the internet has really facilitated the acquisition of knowledge or do you believe that it represents a distraction from the real world, for example through fake news?
The real question underneath all of this is “how do we distinguish fake news from real ones?”. Obviously, this is only possible with culture, which is knowledge, curiosity and desire to get to the bottom of things. When you identify the real news, I believe that the engine of everything is always curiosity and you can’t ever stop at the first results. There is a saying among journalists that is: “the grave of the news is page 2 of Google”, because people always stop first because of laziness. In my opinion, the Internet is a wonderful opportunity that I may have had when I was little. I can’t tell if the internet is good or bad. The internet is neutral, it’s a box that contains everything. I always recommend using it for objective data, I always prefer that on a certain topic it is the individual who expresses himself without copying the thoughts of others. When a student told me that “as text he read Instagram” I wanted to pass out. Social networks are being confused with newspapers and at the same time being Instagram a social network where everyone puts what they want, it is quite disturbing that a person can say anything and this can be taken as real news. It is important to create the figure of a fashion critic, who is someone who elaborates his or her own thought and system of thoughts around a certain event, character or topic.

Fashion journalism is changing, also due to the metaverso. What do you think were the biggest turning points in fashion publishing? Will we really see the abandonment of paper?
I deeply believe in quality, which is then expressed in various ways and on various supports, it doesn’t matter to me. I’m not nostalgic. I read a lot online and there are some very interesting articles. They are among those who prefer digital shows, as they were done in the pandemic, rather than the face-to-face ones we returned to. Surely the period of journalism in print is over for a series of very important reasons, perhaps poor metaverso for once has nothing to do with it. I don’t know if we read less today, but we certainly read less on paper. Just see on public transport how everyone is with their eyes down on their mobile phones to read an article, a book or a gossip site. This was decisive because, since there has not been an adaptation of this type by the paper journalism, since there has never been a type of update on what could be the sites and all the electronic devices related to the dissemination of news, the paper has always become the same. I was editor-in-chief for almost twenty years at Marie Claire, but when I was asked if I wanted to leave I accepted very gladly because I was a little tired of this kind of journalism too tied to advertisers and with no freedom of judgment, unlike when I started and we were very free to give our opinions. I think there was a bit of inertia on the part of print journalism and above all the publishers, going forward. While this has not been done with sites, for example, it is not working in Italy as in America the fact that for some newspapers, including fashion ones, the sites are so well done that they can make up for reading on paper, through a subscription. The first big shock was the advent of the web, which gave rise to phenomena such as blogs. When the blogs were born, I was delighted that everyone could give their opinion without the nightmare of advertising and after a few months practically all the blogs in the world had been hired by the big fashion houses and therefore goodbye freedom. In this way, both big and small names no longer needed paper for advertising and therefore the fact that the internet arrived with blogs and in 2010 Instagram, has definitively established a civilization of the image.

I do not think the paper will end, I believe that there is a phenomenon like that of vinyl, for which they had disappeared in favor of CDs, which in turn gave way to the sale of music online and which disappeared in favor of Spotify. I think we will face a similar phenomenon, that is, every day news will be published online and then twice a year you will have these newspapers, more like books, which will be very expensive but will be kept in the archives. We will see what will happen with the metaverso, for now it is a word and very often there is confusion between metaverso, which is a parallel reality and virtual reality. Something is also moving with economic interests, but we should see, now there is not a single metaverso but there are many different ones. What worries me a bit is the thought that the next generation will be sitting on a sofa with a beautiful avatar, dressed very well but without moving and replacing with sensors also pleasant experiences on a physical level. I believe a lot in the reality of things, especially after what we have been through.
In a 2020 interview, you admitted to seeing fatigue and predictability in fashion, on the part of designers and insiders. Two years later, are you still of this opinion?
On that occasion, I was a bit tough. Let’s say that from some brands that very often are part of large multinational groups it is obvious that we cannot risk it. I was talking to a colleague who asked me how I had anticipated everything that would happen in the Milan fashion shows. However, this does not mean that there are no interesting or beautiful names to look at, for example I saw with great interest the Loewe show made by JW Anderson, just as I am convinced that there will be a new wave of Designers from various parts of the world, especially from Africa. I also think of the fact that there are already Chinese designers who produce well-made garments, so we must try not to be too Eurocentric, indeed in my opinion in this period the West, Europe and America are going through a profound period of creative crisis, while big news could arrive from Africa also because in every village they have a family telephone, next to the grandfather who produces the shoes by hand, so there is this coexistence of craftsmanship and technology that will give very innovative and interesting results, also in anticipation of sustainable fashion, which is environmentally friendly. So yes, predictability and fatigue, but up to a certain point.

You are an expert of communication and you are always the first to expose himself to relevant issues in the fashion sector. Doing a review of the emerging brands that walked the runway in the last Milan Fashion Week, is there anything that struck you?
I must say that the pandemic has given a big boost, because the fact of being all at home and seeing the shows in digital has had its importance. For the first time in many years, just last year we realized this new wave of names, such as Andrea Adamo, Christian Boaro, Alfredo Cortese but also Nensi Dojaka, a woman who is working on the theme of sexy that is always very dangerous. The bad thing is that very often the new collections of these so-called emerging designers are always confined to impossible times or on the last day of the fashion shows when the big names are no longer there and the journalists are gone. It is a shame because everyone must have the right to be able to express themselves. I therefore think it is positive that there are these new names, but at the same time I see that they tend to repeat themselves a little and not experience as they did in the past. Another criticism I can make is that unlike the French, who have always been very smart in adopting designers from other countries, in Italy there has always been a great closure and this has been quite harmful in my opinion because given space for conversation.
On January 27, 2022, the book “The art of styling” was released in collaboration with the fashion stylist Susanna Ausoni. The release of this text caused a sigh of relief to all those who are interested in the subject, but who until then have not been able to read anything about it. Have you wondered why such a widespread theme is not rightly argued?
In recent months, also in the occasion of Sanremo, there has been more talk of stylists than of stylists and this after the release of the book. The book was born precisely from this observation, that is, the fact that there had never been an in-depth study on these figures, which are worthy of interest. In my opinion, this is because until a few years ago they were not given the right name: they were called muses, advisers or inspirers, because in most cases they were women and worked closely with the designer. The term “stylist” did not exist until 1985, in my opinion because we were a little ashamed, even if today we know very well who is next to every great Maison, but in the fashion, shows they have always been a little hidden. Just as they have not been valued in the editorials, in which it is very difficult to put all the elements together and above all to satisfy the advertiser’s request, but also when an actor or actress was said “what a beautiful dress she has” or “how looks good with that haircut “, without thinking about who was behind it. 

The fact that since the end of the 1980s there has been a shift towards an increasingly visual culture meant that there was a need for interpreters of certain visions, which are precisely stylists. It was very interesting to try to start filling this void with the book which is aimed at students but not only, it also wants to invite people to do a self-styling.
The chapter on the great personalities of publishing and styling is very inspirational. Is there someone or something that inspired you in the first place?
I believe that each of us, whatever profession we do, has the right to have teachers to inspire us. I, who did not want to be a fashion journalist in the classical sense, am very grateful to the reading of some journalists above all, who have been very good at describing fashion as part of society. I am thinking, for example, of the great Camilla Cederna, who even made very harsh social portraits and risked jail for having forced the resignation of President Giovanni Leone, who was a very corrupt man. I also think of Irene Brin, the first great fashion journalist, hired by a foreign newspaper Harper’s Bazaar America in the 50s / 60s. So yes, everyone has teachers but then I think it is important to develop their own distinctive autonomous language. Literature and art have also helped me a lot, but I am also very attentive to the musicality of the pieces I write having studied music as a child, because then I believe all this contributes to creating my own language with a more sociological point of view.
What is the most important lesson you have learned in all these years of experience in the fashion industry, both from a professional and personal point of view?
From a professional point of view, he taught me to exercise curiosity, that is to know that there is a new name and to go and see what he does, who he is. The great lesson was to unite different worlds, to build bridges between fashion and art, cinema, politics, mass psychology. On a personal level, perhaps he taught me the harshness of the world, it is a sector in which dramatic things happen, in which great personalities and capital are involved. My private life always remains out of all this, because I am so passionate about fashion that I prefer it to remain confined to what my job is. This sector has also taught me to never get too involved, always cultivating a bit of irony and giving the right weight to things. I have also met fantastic and very interesting people, who otherwise I would never have met.

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give peace a change

Pubblicato il da monchou_admin
04
Giu

After months of waiting, the greatest European has arrived and finally, after a long time, at our home: the city of Turin has prepared itself at its best for its European guests and the international public. The Eurovision Song Contest 2022, despite the sixth in the standings of the gold duo Mahmood and Blanco, gave us strong emotions: in to peace and unity, explosive choreographies and particular characters set the three scheduled evenings conducted by three exceptional presenters, Laura Pausini, Mika and Alessandro Cattelan. Diverse and international, the conductors contributed with their performances to make the event even more spectacular. Furthermore, for the Italian, the live commentary of the formidable and consolidated duo Cristiano Malgioglio and Gabriele Corsi could not be missing who, with the addition of Carolina Di Domenico to the team, entertained and amused us as only they can do. The three evenings were characterized by a succession of extraordinary guests: Diodato had the opportunity to perform with his song “Make noise”, after the 2020 edition of the contest had been canceled; in the following evenings the Il Volo group followed by the winner of the 1964 edition Gigliola Cinquetti who, with “I’m not old”, lights up the building. In the final evening, obviously last year’s winners could not be missing, The Maneskin, who despite Damiano’s injury, managed to set the stage on fire with their rock and sensual charge. The final evening of Eurovision kicks off with an invocation for peace: several artists, gathered in Piazza San Carlo in Turin, play and sing John Lennon’s “Give peace a chance”, followed by thunderous applause from the audience and the connection in live on the stage of the Pala Olimpico with Laura Pausini and her spectacular multilingual medley. The evening continues with the usual parade on the stage of the artists with the representative flags of their country; now the show can finally begin.

The 25 artists competing performed following a fast-paced lineup, attracting attention and remaining in the hearts of the public for their extravagance, for their catchy and exciting pieces: without a doubt, the Norwegian group managed to capture the pay attention to himself with the piece “Give that wolf a banana” performing with a choreography and an outfit in yellow that recalled a bit the cartoon characters, the Minions. Another artist, who staged a performance outside the box, is certainly the Serbian singer who, literally washing her hands on stage, aroused conflicting opinions in the audience. As usual, our duo presents itself on stage with total black outfits for Mahmood and total white for Blanco: with their exciting performance they literally shiver the whole Pala Olimpico, but not completely convincing the technical jury and the audience at home, which makes all hope for the podium vanish. The latter was disputed until the end between Spain, Sweden and the United Kingdom, which were however overtaken by the Ukrainian group. In fact, the undisputed winners, unsurprisingly, are the Kalush Orchestra, a group that has never stopped thinking about their country. With their song “Stefania” they paid homage to all Ukrainian mothers who, in this currency, find themselves in difficulty and live in a situation of terror. The rhythmic, modern and at times even melancholy piece has become a real hymn to peace; it has in fact thrilled the whole of Europe, which submerged the group of points to underline their closeness. An international and united gesture that we will all remember thinking about this edition. The initiative of the post-festival group will also be remembered: the Kalush Orchestra, in fact, has decided to auction the Eurovision trophy and the pink cap, worn by the frontman, to donate the proceeds to an association that supports the Ukrainian army. Music, once again, has become the spokesperson for a thought of peace, unity and alliance; a universal language that makes us feel like a single people, belonging to a single world.

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isabel garmon: interview

Pubblicato il da monchou_admin
09
Mag

The Isabel Garmon’s artworks, a painter from Zaragoza, distil a realism with an impressionist character in which color shapes the line and blurs it.
Hi Isabel, it’s a pleasure to talk to you! What were the personal and academic paths that led you to be among the young protagonists of contemporary painting today? What stimulates you creatively?
Well, always it is a pleasure to talk about this because I invested time and effort to reach the point where I am now. I have to say that my artistic career started with the graphic design and illustration studies that I did as first step and thanks to it I could meet the academic drawing and painting world through the hand of my instructors in Madrid getting training in their private studio. At that moment I could feel that my proposal of life was to be a Painter and should get deeper instruction in one of the best academies around the whole world that was in Florence, so I worked hard to reach my goal and thanks to be awarded twice for the prestigious The Elisabeth Greenshields Foundation ́s Grant I could travel to Italy and enroll in The Florence Academy of Art. One year and a half living my dream and making more solid my knowledge about drawing and painting and after this time full of experiences I went back to Madrid to open my own studio and teaching private classes and working on my own stuff. My creativity born through my dreams. Color is a very important tool for me and use my influence of illustration to imagine abstract scenes and work the different kind of vibrations that each bunch of colors can offer in an artwork.

I feel the color and the forms for every piece that I am going to make so just try to feel the emotion of the moment and work through it.
How did you come to your current technique? What is the artwork that best represents you?
My current technique comes from my influences and technical knowledge. I have been inside of a long time of investigation searching different kind of application, languages, ways of expressions with the only goal that was to “find me”. Who am I? This is a question that I wanted to answer and think am starting to know. To find yourself I think you have to fall down and stand up constantly to getting be stronger and understand what your preferences in life are. That knowledge on yourself let you to connect with your artwork and discover the language that represents you and the most important that talks about you. The artwork that best represents me is always my last piece. I do not think that can choose just one artwork, am going to do it through two: “My Guardians”, a serie that I have started where women in black and white are surrounded of color feeling them as Godess in themself where they have the power of giving strength and power to every human being that look at them, and “Infinitus”, my last painting feeling it as my most experimental and loose artwork that I have created ever.

Is there an artist, or are there artists from the past that you like and that you use as a reference? Why?
Of course my friend! Always artist from the past are living with me! Ha! My most important is Velázquez, because for me “everything starts with him”. He is the beginning, the bases of the actual painting born through his technique and for me he is like my father in an artistic way of talking. Other artists that more inspired me is Gustav Klimt, Tranquilo Cremona, Mancini and Anglada Camarasa. I think the main trait that all these painters have is the impressionistic language, my favorite. The impression of the form suggest and lets you to play with the artwork freely!
Is art research and experimentation?
Yes it is! Great question for sure! Art teaches there is no limits on you but only you can understand it being inside of a permanent research and experimentation. You cannot stop, always moving and going to a next step. It is so exciting! When my time living in Florence I discovered that if something was wrong on my life should look at my process of drawing because on it was happening the same, so I realized that If I wanted change something on my life I had to do it on my drawing and vice versa. So look how powerful is this connection between life and art. So yes, art and life evolve at the same time than experimentation and research work.
What do you think are the characteristic elements of your style?
The elements that characterize my style is the graphic shapes and vibrant color. There is something like surrealistic on my language that I think the viewer do not expect to see and that surprise him/her.

Also textures are a main element on my style as part of the composition to let play with the person who looks my work.
Is art a vehicle of messages? Is there a message behind your artworks?
Art is a powerful tool of communication. And you as creator have two options: build the artwork through the message that you want to transmit or to build the message as a result of your decisions on the composition of your piece. On my case always the message comes after making the artwork. Obviously in a subconscious level there is a purpose for every work I make but do not understand the real meaning after finishing it and looking directly to it. I have to say that while making an artwork little by little can understand why colors and forms are chosen but the real meaning comes at the end.
Why the choice of figuration? What does the portrait represent for you?
Figuration represents the physical part of me so I consider important to choose it as the field where I want to move on art nowadays. I have to say that figurative art works for me as a mirror where to find my reflection so as the same way people looking at my work will be able to find themselves on it and help to understand who they are. Figurative art is a tool to know better what the human being is doing on this life. Portrait is the way how I introduce at the time when meeting you, right? We look at our face and connect through our eyes. It is in that moment you can recognize to that person as a human being with an own soul. I really enjoy that moment and for this reason I feel working the human body I can connect better with all of them.

What role does drawing play in relation to your artworks? And the color?
Every artwork that I make is in reality drawing. I love drawing and feel something very powerful when I apply lines and form in order to compose the piece, and no matter if my hand is holding a brush or a pencil. I had a strong and deep training in drawing with graphite where my instructors introduced me the importance of being precise and that let me nowadays to use my drawing with confidence to build every kind of form I want. I use my relation with color to travel to my imagination and bring a proposal full of light. What about my relation with color and drawing? With them I try to explain the quality of the light, being this probably the most important part of my creations. Color is the tool that let me to expand and connect with the child that lives on me and think drawing connects with my adult part. I will always defend the idea that the child has to live permanently inside of us and one of my reasons is because life is a game and we came to play!
How are the titles of your artworks born?
I usually feel the titles of my artworks when I look at them when finished but sometimes the name comes while I am working. It is really exciting that moment, when suddenly you understand the real meaning of the piece that you just have made. Sometimes the title comes easily, you can feel it quickly, but in other cases I need more time. I like to sit down in front of my artwork and see the elements that are inside of the composition and to understand what is the real meaning of all that.

What does it mean for you to make art today?
The meaning of making art today for me is in first of all to communicate, to express my ideas and share them with you through the images I create. On the other hand I think art is a tool of entertainment that give us moments to enjoy and think about what we are looking at. And in a deeper way I consider art is really necessary in our life as human beings because being surrounded of forms that represent the imagination world help us to “smile” and walk with a higher level of energetic vibration. And I would say, as last thing, that for me the esthetic is very important, it influences a lot in us, so for it a care in making beauty through art is very important.
Do you think social media are a useful medium for an artist?
Of course it is! Thanks God social media has helped to be more connected between artists, galleries, collectors and viewers. It is a big window where to show your art and let more people enjoy it. I really feel closer to my audience and my art has no limits.
What projects do you have on the horizon?
Always I am working in my personal artwork and teaching private classes in my studio. But every now and then exciting projects come as mural paintings or animation stuff that love to do. And now I am going to start landscape paintings for an upcoming exhibition that I have for this next July in the north of Spain.

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hollywood goes on stage

Pubblicato il da monchou_admin
04
Mag

On March 27, the spotlight turned on the most anticipated stage of the year, that of the Academy Awards. The 94th edition of the night of the Oscars was finally held in attendance and, as always, did not disappoint expectations: from the red carpet, to the awards ceremony, to the speeches it was a surprising, exciting and, in some ways, unexpected, but above all an edition to remember. Dreamy, glamorous and sparkling dresses in bright and elegant colors opened the dance on the highly anticipated red carpet. This year the designers’ choices were bold and contrasting: on the one hand, more classic dresses, typical of the ceremony and of Hollywood stars, like the Gucci dress worn by Jessica Chastain; on the other hand we find a bolder new Hollywood, which prefers to question the stylistic canons seen in the past few years. An example are undoubtedly the outfits of Kirsten Stewart who decides to enter the history of the Oscars wearing black micro shorts and white shirt unbuttoned up to the navel and Timothée Chalamet who shows up with a Louis Vuitton suit, deciding however not to wear under the shirt. In the most awaited night in the world of cinema, there was no lack of controversy and twists. The fuss has arisen following the Academy’s decision to cut some technical prizes from direct. In fact, the prizes for make-up, editing, soundtrack and scenography were awarded before the live broadcast with the aim of shortening the broadcasting times and making it more dynamic. During the second part of the evening, the public was faced with an unexpected, almost cinematic gesture that will remain in everyone’s memory: Will Smith’s slap in the face of his colleague Chris Rock. The comic presenter, during his sketch, wanted Jada Pinkett Smith, for her “new hairstyle”. The woman, who suffers from alopecia and has been engaged in a battle against beauty stereotypes for years, did not appreciate the joke; Will Smith therefore felt compelled to defend her.

As it happens, shortly after the actor is called back to the stage to collect the statuette as the best protagonist; during the thank you speech, in tears, he apologizes to friends and colleagues for what happened. The consequences, however, are there for all to see, the Academy has in fact decided not to involve the actor in the ceremony for the next 10 years and some production companies are considering whether to hire him or not. This episode shows us how violence is never the solution and that our actions always have consequences. Of this edition will be remembered, also and above all, the speeches of the winners and presenters, who sacrificed themselves to make known situations or convey messages of encouragement and equality, in a current, modern and inclusive perspective, demonstrating once again , to those who were listening, that no one is alone and that the world is beautiful precisely because we are unique pieces of the same puzzle. The message is evident, even in the choice of the presenters of the ceremony: Regina Hall, Amy Schumer and Wanda Sykes, three completely different women, but with the same task, that of ferrying tradition towards a present that we tried to make the as inclusive as possible. The stance of some actors on what is happening in Eastern Europe was also thrilled: the Academy Awards asked for a minute of silence to show its support to the people affected by the war. Important the awarding of prizes to Ariana DeBose and Troy Kotsur, which made it possible to break down the wall of taboos and discrimination. DeBose is the first black and LGBTQ actress to win an Oscar; while Kotsur is the second member of the deaf community to win the statuette, after Marlee Matlin in 1986. His dedication to all people with disabilities “This is our moment” thrilled the audience who applauded him in sign language. We can therefore say that, despite the unpleasant episodes, this night of the Oscars still gave us emotions, allowing us to dream once again.

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