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IO DONNA SCHEMA LIBERO – DUE DI NOI

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Two of us. Father and son, brothers, friends, life partners, husband and husband, it doesn’t make a difference. First of all, two men. Two man that could be anyone, that could be two of us. How many times have we read about “she” stealing from his wardrobe? Well, in this case is much easier, and mainly the “theft” isn’t one-directional: it’s an exchange. Then it’s normal if age, build and personality don’t correspond; suppose that one is a real dandy and the other is “rock”. One classic-formal and the other a denim-addicted. But the basic garments are the same for all: the white shirt, the polo shirt, the pullover. For once, the gender has nothing to do with it. The exchange is only from man to man. Masculine, masculine noun. Indeed.

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.

STYLE MAGAZINE DECEMBER 2017 – COVER

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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.

IO DONNA SCHEMA LIBERO – GESSATO D’AUTORE

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Signature Pinstripe. Alfred Hitchcok filmed Suspicion in 1941, almost half a century before the invention of the technologies that today allow to create the glorified special effects. There’s a very famous scene, full of suspense, with Cary Grant bringing a glass of milk up the stairs to his wife – interpreted by Joan Fontaine. I leave in doubt who hasn’t watched the movie: the milk could be poisoned. And that glass, declared the filmmaker to Francois Truffaut in a book-interview, had the role of “illuminating the scene”; to obtain the effect he wanted, he used a very simple but effective trick: the glass contained a light bulb. The other stage lighting and the setting create a very fascinating play of geometries and symmetries: the stairs, the paintings, the column, the stripes and the lapels of Grant’s suit, the skylight’s structure that projects a cage-shaped shadow on the wall. An unmissable classic of one of the most famous and less appreciated by americans (at that time) angloamerican directors.