ETRO

IO DONNA SCHEMA LIBERO NON SONO DETTAGLI

schema-libero12Not details. Eric Bergère, art director, journalist and stylist, born in 1960, in a portrait by Terence Donovan in 1988. Bergère styling is perfectly in line with those years: exaggerated and pompous. Obsessive about details: when he didn’t wear the tie, he wore the cache-col, inserted into the neck of the shirt buttoned up to the third button. With the tie he always wore the silky pocket-handkerchief, matched with the tie. The sideburns were still long, last traces of the 70s grooming; the hair instead were in very 80s style, smoothed back with hair gel. In almost 30 years shapes have changed, but in today’s collections we can see the checked moulinex on blazers and the houndstooth on trousers; rarely the paisley prints on ties. But the pocket hankie is still “missing”.

IO DONNA SCHEMA LIBERO MI RITORNA IN MENTE…

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It reminds me… He was not charming, nor good-looking. But sometimes he was wonderful. Lucio Battisti appeared very rarely even in the golden years of RAI. He barely took part in only one Festival of Sanremo, in 1969 in a duet with Wilson Pickett with Un’avventura. First and last time. Lucio Battisti never made concerts, the only live appearance was in 1972 for Teatro 10, in a duet with Mina. Battisti’s voice could reach high keys, a kind of falsetto, sometimes nearly touching the bad note; but the timbre was deep, heartfelt, enchanting, touching. Among the very few pictures of him, if we don’t include those shot for the albums’ covers (but since 1979 he didn’t want to appear even on them), those by Cesare Monti, shot in his country house during his free time, stand out. In his free singing (canto libero, from one of his song), Battisti wrote the most beautiful pages of italian pop music and transmitted a sense of privacy and nostalgia, a lonely inspiration that infected other great songwriters like De Gregori and Fossati.

IO DONNA SCHEMA LIBERO EFFETTI SPECIALI

44-MODA-R-schema-libero_Storia8Special effects. “Susy Benner decided to improve her ballet level in the most famous dance school in Europe, the Friburg Academy. She arrived in Germany from New York at 22:45…”. This is how the nightmare of Susy/Jessica Harper starts. Suspiria (1977), 2nd only to Deep Red (1977), is one of Dario Argento’s best movies and represents his passage from thrillers to horrors. Creepy soundtrack and special effects (with the limits of that years) that set new standards. The photography by Luciano Tovoli is a very strong connotative element: bright colours, invasions of shades of red and blue. The academy’s wallpapers with surreal patterns were inspired by the drawings of Maurits Cornelis Escher. A pop and at the same time claustrophobic opera. A must-see.

IO DONNA SCHEMA LIBERO COLOR DI FOGLIA

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Leaves’ colour. In his case, that kind of photography defined as still-life couldn’t have a most suitable name. For 35 years Karl Blossfeldt (Schielo 1865 – Berlin 1932) photographed leaves, seeds and flowers. Images that the german sculptor and photographer used to show his students how nature’s shapes, adapting to environment and weather, acquire different and fascinating morphologies. Blossfeldt, indeed, said: “Plants don’t have to be evaluated with an insensitive and mere functionalism, but their shapes develop on the basis of logic and adaptation and with their primordial strenght push every part to obtain the highest artistic expression”. His first photographic volume, Unformen der Kunst, was published in 1928 and today it’s still considered so much modern, that it suggests the hazard of a new form of modern art linked to the idea of “back to the roots”. The New Futurism? By now content ourselves with wearing the colour of nature. In this season’s collections there are garments for every taste and complexion. The opera omnia of Karl Blossfeldt

IO DONNA SCHEMA LIBERO BELLO E DANNATO

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Beautiful and damned. He’s the “Joe” mentioned by Lou Reed in Walk on the Wild Side. That recites: “Little Joe never once gave it away/ Everybody had to pay and pay/ A hustle here and a hustle there/ New York city is the place where/ They said hey babe, take a walk on the wild side”. We’re talking about Joe Dallesandro, american model and actor, beautiful and damned: around fifty movies to his name, from 1967 to 2002, that didn’t achieve success. But he’s popular. Made famous by Andy Warhol and Paul Morissey, that hired him for his cult-shorts (Flesh and Trash), between the end of the ’60 and the early ’70. And by that Je t’aime moi non plus, that celebrates its 40th anniversary, shot with Jane Birkin. Marked by a borderline way of life, between clubs and the street, today Dallesandro is 67 years old, he has two sons and has been married three times. He’s still beautiful. And his style is still iconic. Joe Dallesandro in the poster of the movie Trash by Paul Morissey (1970).