fendi

IO DONNA SCHEMA LIBERO – M COME MODA

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M like Mode. The first issue of M was published twelve years ago, in spring 2006. M was one among many glossy fashion magazines: nice size (big), high-quality paper, great photographers and important brands for pages that showed the season’s trends; it was the last fashion specialized published by Rizzoli. The type and font of the letter M was the same of a very popular RCS magazine: Max, the monthly publication well-known for calendars (Ferilli issue was reprinted and sold more than 500thousands copies). But Max was many other things: De Niro on the cover of the first issue (1985) and the first italian magazine to have Lady Gaga on the cover (december 2009, picture by Ellen Von Unwerth) back when no one would have imagined, thanks to the intuition of Andrea Rossi: the same journalist that today writes “Il graffio” for Style Magazine. M like Mode, M like Max. Many readers conserve M issues still today, that hung in there since the beginning of the great crisis, three years later. And it’s interesting to notice that today many young people, between 25 and 35 years old, show a real interest for paper magazines that are high-impact, glossy, very well-finished. But the best thing is to be a success both in paper and online publications: an example? The supplement you are reading, Io Donna…

IO DONNA SCHEMA LIBERO – LA MODA DELL’ARTE

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Fashion of Art. From 2010 the philosophy of “fashion of Art” started to spread. The most popular brands diversified their communication strategies incorporating other worlds, making them compatible with fashion. One of the first coexistences of art and design is the glass and steel  slide designed by Carsten Holler for Prada Milan headquarter. Among the most recent there are Dolce & Gabbana’s haute-couture (in Naples) and Alta Sartoria Uomo (in Palermo) fashion shows: they chose two art cities, not “fashion” cities, like Milan or Paris. But let’s consider the “tradition of fashion” and fashion in the strict sense and ask ourselves what will remain of this decade 2010/20.  The phenomenon of the millenials will go down in history; the innovation is not the proposal of a harmonious masculine/feminine and feminine/masculine ideal that has already existed from Jim Morrison on, and that was resumed by Hedi Slimane in 2000: the innovation is in the extraordinary ostentation that, translated in numbers, has taken Gucci back to the top of the most sold brands. Hats off to Alessandro Michele. In the end, in memories will remain the multitude of accessories that has supported and supports fashion’s budgets. Little-great pieces of contemporary art, from eyewear to shoes and bags.

HEAD TO TOE

FENDI

Sandali e fascia, Fendi, f/w 2017.

Silvia Venturini Fendi ha preso ispirazione, per il suo uomo autunnale, dallo sportswear degli anni ’80 e ’90, ravvivato da tocchi stilistici presi dal peculiare stile Buffalo, di cui Ray Petri era maestro. Tra felpe a blocchi di colore, sandali flat in pelle e montone, immancabili inserti di pelliccia, fasce in lana, spiccano degli inni alla positività, i cosiddetti “Fendi Vocabulary”: messaggi semplici, diretti, fatti di singole parole, come “Love”, “Listen”, “Try”, sorta di regole universali da seguire fiduciosamente. E in quest’ottica, la stessa parola “Fendi”, riprodotta in caratteri bold, diventa essa stessa un’immagine positiva, da indossare da capo a piedi. A cura di Angelica Pianarosa, Foto Michele Gastl. 
Silvia Venturini Fendi, for her

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IO DONNA SCHEMA LIBERO ROMA, IL SET ETERNO

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The eternal set. It’s one of the iconic architectures of the capital. The Palace of Italian Civilization, in the Eur, restored by Fendi and headquarter of the maison from October 2015, includes also a space for exhibitions and public events. This is one of the many international sociocultural procedures about communication between fashion, architecture, art. The building was designed between 1936 and 1937, and finished in 1940, for the Universal Exposition that never took place. From the “peplum” to The Last Kiss by Muccino, the building and its surroundings have been the set for hundreds of movies. About the picture I chose, the great book Eur, si gira, by Laura Delli Colli, says: “For the fellinian episode “The temptation of Dr Antonio” in Boccaccio ’70, the filmmaker imagined a busty Ekberg on the advertising billboard “Drink more milk”. It had to be only a picture, but during the making of the movie, Fellini changed his mind and wanted Anita in the flesh”.

STYLE MAGAZINE OCTOBER 2016 – PORTFOLIO #2