roberto cavalli



Pelle tagliata al vivo, bianca o nera/asfalto. Padded-Jacket arancio. Giacconi e bomber in lana cammello, blu navy e tabacco. E, naturalmente, tanto denim. La collezione é più articolata: offre diversi spunti sportswear, ma é anche classico/giovane e fashion.


Le foto parlano da sole. I paletot “Armani Style”, morbidi e ampi ma strizzati in vita dalla cinta e il knitwear avvolgente, sono la parte più bella della collezione.


Collezione metropolitan/dark. Bella l’uscita finale con le mantelle.


Una delle più belle sfilate di Paul Surridge e una delle migliori di questa edizione di MFW. Colore: in particolare uno zafferano che – realizzato sul casentino e sulla lana spessa usati per caban e cappotti –  diventa più soft. Ma é l’unica zona”accesa” della collezione, per lo più basata sui blu e sulle nuances del grigio. I capispalla bicolored danno vita a contrasti di grande impatto, e diventano immediatamente un must-have. Bellissimi anche la maglieria e gli abiti, che sono “slim-fit”,  ma con giusta moderazione. Bravissimo Paul!


Dietro-front: dopo due stagioni di menswear classico/fashion, tanto classico da intitolare i due eventi (gennaio e giugno 2013) “Gentlemen Club”, Roberto Cavalli torna alle origini. E ri-edita aggiornando forme e colori, la prima collezione uomo, che debuttò nel’98 a Firenze: un flashback da cui si evince che il suo uomo piace così com’è sempre stato. Nomade, Rock, Psichedelico.


The last goal of the real dandy. The real dandy, and it has been said lots of times, doesn’t care about conventions: this is a doctrine expressed through behaviour and consequently through clothes. The dandy’s tendency, that in the early ‘900 was provocation, with results we can imagine especially because he belonged to homosexual world, nowadays has ovverruled the original inclination, so much that it concerns, viceversa, a certain kind of eterosexual man. Surpassed the “metrosexual” era, today there are many men that choose a different clothing from the traditional one, trying to satisfy on one side the need to stand out, and on the other side the desire to own luxury garments. What characterizes this occurrence and makes it intriguing, is – now as then – the absolute indifference to others’ judgement; the choice of a dandy-like suit surely leads to a specific direction, opposite from the “macho”‘s one, but if it could be confusing for many, the real dandy doesn’t care. That innovative look, matched with a silk scarf around the neck or a printed bow-tie under a smooth velvet tuxedo, soften the appearance without drifting into ambiguity: if you have any doubt, clear out your mind, because standing out from the crowd with great taste is a real art. Max 2001, picture by Michael Wolley, clothes by Roberto Cavalli. Style 2013, picture by Paola Dossi, velvet tuxedo by Louis Vuitton.


Photo grandeur. If we’d like to tell a story about fashion and people that represent it, choosing only one picture for every great photographer from the early years of ‘900 till today, probably the pages of this issue won’t be enough. The common denominator would be the simplicity; a white or grey background, clean or rarefied lights and shades, the absence of props: only gazes, faces, expressions, style, light, intensity, fashion, attitude. In location pictures, or in en plein air ones, was and still is the subject the element that “arises”: just look at portfolios of Louise Dahl-Wolfe and Norman Parkinson. In their shots, landscapes were often neutral, “nowhere”, as it’s used to say in fashion photography. The skill of the photographer, first of all, and then of styling and grooming, accents the most eccentric fashion up to the masterpiece. Among the photographers in which I believed first there’s Johan Sandberg: his obsession with the research of the “perfect” light make him a master of photography. Style 2007, the top model Patrick Petitjean in Gaultier, picture by Johan Sandberg.




My father used to love only western movies. Saturday afternoon was a ritual: second show – at 16 0′ clock – cowboys, redskins and horses. The fate of those poor beasts was a source of worry (“do they hurt themselves when they fall down?”). Till, on a rainy saturday, in full grey Milanese autumn, was the turn of “For whom the bell tolls”, an old picture show – precisely from 1943 – inspired by Hemingway’s novel, with Gary Cooper and Ingrid Bergman. I was used to spaghetti western, as easy as they were boring, and I was not prepared for a dramatic western at all. I cried so much that from then on I refused to go to the cinema with him, and only this year I made peace with western thanks to Tarantino and his Django. The modern cowboy played by Jamie Foxx captivated me, but I haven’t recovered yet after the goodbye scene between Maria (Bergman) and Robert (Cooper): the bracket has already closed.

STYLE 2011

The timeless appeal of the Camel Coat masterly enlightened by Michael Woolley‘s photographic knowledge. Coat by Roberto Cavalli. Iconic hat by Borsalino.