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HISTORY OF MEN’S FASHION AND FASHION PHOTOGRAPHY – MAX 2010

 

1max-giugno-2010

Sembra ieri, eppure sono passati già 4 anni dai primi vent’anni di moda uomo di Dolce & Gabbana. Nell’anno dell’Expo festeggeranno un quarto di secolo! Per l’occasione, nel 2010 appunto, Max (direzione Andrea Rossi) dedicò sei pagine agli stilisti con un articolo di Tommaso Labranca corredato da splendide foto di tre maestri: Walter Chin, Giovanni Gastel, Toni Thorimbert. Ciascuno di loro interpretò la moda di Dolce & Gabbana. Con Thorimbert scattammo nella loro sala vip nell’ headquarter di Milano, ispirandoci ai “picciotti”. Chin scelse un ambiente nowhere e puntò sul sartoriale. Gastel immortalò David Gandy – in studio – con un superbo maglione/cardigan oversize. Styling di Alessandro Calascibetta.

It seems like only yesterday, … Continua a leggere →

MAX 2009

“Cuir Allure” – Photo by Gianluca Fontana, Model Laurent Marc Meri, Fashion Editor Carlo Ortenzi, Pantaloni in pelle nera e mantella di Trussardi (A/I 2009).

 

 

MAX 2009

Fotografare gli attori è una certezza: più dei modelli, aggiungono qualcosa, con un gesto, con un’espressione. In questa foto di Giovanni Gastel, Francesco Scianna in Dolce & Gabbana.
Actors’ portraits are a guarantee: they add something more to the picture, with a gesture, or an expression, than the models. In this picture by Giovanni Gastel, Francesco Scianna wears Dolce&Gabbana.

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Fashion shows have become performances, live “narratives”. Yesterday unvarnished fashion walked the runway; today, set-up, music, lights and even invitations immediately introduce in the collection’s mood. Years ago all designers modeled in the Fair’s old location: the same halls, white walls, chairs and catwalks. Dolce & Gabbana were among the first to change location. In 1995, still in the old one, they displayed damasked for men: the idea of buying and restoring the old cinema Metropol wasn’t in their projects yet. Today, thanks to the magnificence of a (ex) movie theatre changed, by necessity, into a hall inspired by Visconti, that mediterranean romanticism is celebrated with a much more affecting intensity. Opposite feeling at Prada, able to surprising intuitions: every season her space changes scenography, and every time is a surprise: nothing shines through, not even from the invitation. In 2011, when she changed her fashion’s direction suggesting bright colours, a catwalk made of steel tubes and lighted up by neon lights. Two examples of excellence, totally opposing and totally brilliant. Above, from left, an outfit by Dolce & Gabbana (from Bazaar Uomo, 1995; ph. Rennio) and one by Prada (from max, 2011; ph. Tesh).

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