La stagione in corso, che ha sfilato in passerella a gennaio, è il preludio dell’anno zero: dal prossimo vedremo – attraverso le collezioni primavera/estate che i magazine cominciano a pubblicare nei primi numeri del 2013 – che la moda uomo ha davvero voltato pagina. I primi dieci anni del 2000 sono stati di collaudo: da oggi si può parlare di coerenza stilistica, sebbene ogni maison abbia presentato e prodotto vestiti così diversi da azzerare completamente il vecchio concetto di macro tendenza. Tuttavia, in questo mix di proposte disparate e apparentemente lontane tra di loro, c’è uno slancio comune verso il futuro come non si vedeva  da più di vent’anni. Lo styling di queste foto di backstage, scattate durante un servizio fotografico in uscita a dicembre con abiti e accessori in vendita adesso, dimostra e anticipa un estro che appartiene ad una nuova era, fondata – speriamo – sul liberalismo e sulla bellezza.

This current season, (last january’s fashion shows) is a prelude to the year zero: by the next one we’ll notice -through the next S/S collections and by what magazines will publish by the very first issues of 2013- that menswear has really turned the page.The first ten years of 2000s have been a test. We can finally talk about stylistic coherence, although every maison has been introducing and producing pieces so very different from one another that the old concept of macro-trend has been reset. However, within the mix of suggestions which seem to be apparently so different and far from each other, there is such a strong push for the future as we haven’t seen one in more than 20 years.This backstage pictures has been taken during a fashion shoot that is going to be published in december, with accessories and clothes that are for sale right now, the styling discloses and reveals an inspiration which belongs to a new era, established -let’s hope so- on liberalism and beauty.

Total look Prada

It’s James Bond’s 50th anniversary. There is nothing left to add to his proverbial elegance as a lot has already been written in the past fifty years, I could run the risk of repeating someone else’s comment. Although everyone likes the character and despite all Daniel Craig’s efforts to emulate James Bond’s famous aplomb, the truth is that through all of those years Agent 007 has always been devoted to conformism -he’s a proper english after all- from Sean Connery to Roger Moore, Pierce Brosnan and Timothy Dalton. Even George Lazenby in “On Her Majesty’s Secret Service” had to wear the same old tuxedo a part from that one scene where he’s wearing a kilt. Nothing to object to: black saves everyone, and so does a tuxedo. However, having followed the saga, I have always found more interesting the “bad guys” looks. The most stylish ones have been Christopher Walken (A View to a Kill, 1985) and Mads Mikkelsenche in Casino Royale (2006) which made his appearance clad in a reassuring, yet original monochrome ton sur ton brown suit. I’m obviously expecting a lot from the next James Bond’s enemy: Javier Barden. We shall see.

Franco Brusati (1922-1993) has been one of the first italian film directors treating homosexuality as an open matter. He was the directon and screenwriter the 1978 movie “To forget Venice”, which it’s just been restored and released uncut.(At that time a few full-frontal scenes have been censured). The movie is about this two gay couples (Mariangela Melato/Eleonora Giorgi – Erland Josephson/David Pontremoli) in the Veneto countryside. The story developes between past and present and the main character it’s the ex lirical singer Marta ( Ella Petri). The movie won a David di Donatello Award and it reaches some points of pure narrative poetry especially towards the end, it is a dated movie, but still very interesting and quite elegant, with that country chic styling.