GUCCI

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.

IO DONNA SCHEMA LIBERO – UNFORGETTABLE

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Unforgettable. Giacomo Ferrara, 27 years old, before Suburra – The Series had already acted in the namesake movie directed by Stefano Sollima as supporting actor. Then we’ve seen him in Il permesso by Amendola and in Il Contagio with Vinicio Marchioni. But with The Series he has established himself as one of the greatest talents of italian cinema. Ferrara’s power in playing the part of Spadino is really great, a character that is bad but not so bad, with a noticeable “problem” for a criminal from a ruthless gypsy family that fights to obtain its part of territory in a very corrupted capital: he’s homosexual. Ferrara’s Spadino is one of those characters that lingers in everyone’s memory: he’s unforgettable. Unforgettable just like – I don’t overstate – De Niro in Taxi Driver. So much that he deserved an article on Financial Times.

STYLE MAGAZINE 2007

Shooting inspired by 1968 and by the misinterpreted ideologies, thanks to the release in that period of the movie Cari Compagni (that then became Il Grande Sogno, The Big Dream) with Michele Placido and Riccardo Scamarcio. Ph. Michael Woolley, Styling Alessandro Calascibetta.

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STYLE MAGAZINE NOVEMBER 2017 – COVER

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MAX 2013


When art meets fashion: here fiction replaces reality in the illustrations by Andrea Tarella; a man in a Gucci suit visits an imaginary art gallery. Ph. Luigi Miano, Styling Alessandro Calascibetta.

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