Fashink 10 by Fashink magazine

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Stefano Padovani Editor & Ideator production@fashink.com Lucia Capelli Director Cristina Balestrini Creative Director advertising@fashink.com Andrea Tisci Fashion Editor fashion@fashink.com Elena Gentile Beauty Editor Talita Savorani Writer & Accessories contributor Isabella Gaspardo Foreing Consultant Danila Cattani Fitness & Healthcare Specialist Michelle Dorrell Baking Master Lara Zibret Architecturink Scout Filomena Galietta Senior Logistic Coordinator

info@fashink.com STAFF CONTRIBUTOR

Emilio Bergomi, Danila Cattani, Filipe Chaves, Claudio Ciliberti, Giusva Cosentino, Mario Chiarenza, Davide Gariboldi, Gaia Marchini, Davide Messora, Samuela Nova, Martina Pennacchio, Andrea Perego, Veronica Ruggeri, Shelly Wahweotten, Lara Zibret

SEASON CONTRIBUTOR

Arcangelo Argento, Simone Bertolotti, Mattia Bonvini, Mattia Guanieri, Raffaella Esposito, Matteo Iovine, Aldo & Angelo Lanciano, Antonio Montissori, Fabio Prina, Paola Redaelli, Greta Roncoroni, Angelo Zhao

CONTRIBUTORS

GIUSVA COSENTINO

Musician and producer, in love with electronics and with the new technologies used by musicians and artists, his main interests are discography and the history of contemporary music.

RAFFAELLA ESPOSITO

Photography is her passion and she deeply appreciates those amongst her audience who take the time to stop and understand the emotions captured by her pictures.

GAIA MARCHINI

With a career in sales and marketing, she works as a journalist on the side and has been practicing sports all her life. She loves the mountainside, animals, colours and music. She doesn’t know the meaning of the word ‘boredom’.

VERONICA RUGGERI

Veronica is a 23-year-old fashion stylist and communication expert, subjects she studied at prestigious Milanese art academy NABA. She’s a huge fan of the ‘80s and in fact she often wears a strongly marked waist, shoulder pads and big buckles.

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TABLE OF CONTENTS Fashion Moment p. 10 Mind My Own Business p. 16

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We Believe p. 30 Tattoo Icons p. 34 Fashink People p. 48

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Architecturink p. 60 The Outsider p. 82 p. 82 6

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Winter

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She her and the other p. 96 White prospective p. 116

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Bold shapes p. 128 Slick attitude p. 136 Vegink p. 162

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Fitness p. 168 Bits & Pieces p. 180 p. 162 7

EDITORIAL Stefano Padovani

Let’s abandon the ship before it sinks... We’re in the hands of crazed commanders. Skilled, capable rulers are nowhere to be found, and so are guiding lights, so we end up being thrown about by the waves, without a harbour to head to for our safety. Ideologies are now a thing of the past. Happiness is feeling nice and snug in a warm bubble of illusory happiness. We feed on artificially modified food and on virtual culture; last but not least, we use chats to find love. We can’t complain about our governments and their false promises of huge changes when we in the first place continue to accept and actively look for things and systems that are patently fake. We prefer believing that all that counts is wealth, because real values have lost their meaning to us. We don’t feel the love for our family, our children and all the people that surrounds us anymore. We find it difficult to distinguish good from evil because good is hard to find and so it’s increasingly difficult to understand. We hide behind righteousness and do-goodery to clear our conscience. Hypocrisy is the commonest feature by now. We talk of racism and prejudice as if they had nothing to do with us, yet when confronted with people who share our views of the world we act as fanatic monsters, and this also happens when the shared values are healthy and positive. Globalization is a reality: we can enter the homes of people who live thousands of miles away from us, yet we’re so far apart from each other emotionally that we don’t even realize it. We expect religion, politics or war to bring about change, but it can only start from within ourselves. All changes, even the smallest one, require us to be brave and to really want them, and sometimes they are necessary, even though they force us to leave our comfort zone for something that might turn up to be worse that what we’ve left behind. But after all what’s life without thrills, without risks, without uncertainties? When I decided to change course and enter the world of publishing, back in 2015, they told me I was crazy. After thirty-seven years in fashion photography, why on earth would I want to take on such a huge risk just now that even the printed media giants were going to the dogs? Maybe because I needed to turn my life around, and because I was looking for something to make me feel alive again, something that I could put my heart and soul into. Today Fashink has reached its tenth issue and is an established reality, yet I will never give up seeing every day as an ever-new opportunity for improving myself and for bringing a message of change to all our readers

Stefano Padovani 8

Fashion Moment by TFG Probably fashion’s most rebellious and charismatic brand. Moschino all started in 1983 when franco moschino left his job as gianni versace illustrator to create a brand with his own signature, eccentric! Moschino’s success was built on the fact it grabbed attention, from it’s clothes to it’s campaigns. Franco’s social awareness and criticisms of the fashion industry were portrayed through his work, which set moschino apart from the rest of the luxury brands at the time. He was most defenetly a pioneer of social culture. Encouraged by Versace, Franco Moschino began his eponymous label with a line of casualwear and jeans before eventually expanding to eveningwear, shoes, lingerie and perfumes. While his clothes may have come with a highfashion pricetag, moschino was never shy of a controversial statement and often poked fun at the industry’s “fashion victims” who were also, infact his customers: “my approach is a contradiction, i know, but why not?” “why should i have to embrace the fashion business just because i work in it? Why should i?” Moschino once said. Most designer brands have an idealistic view of who the girl is that represents their brand. This is usually a model/actress that epitomizes all the characteristics of a brand’s values. Moschino have based the ‘Moschino girl’ on a character, the beloved, goofy and quirky olive from pop eye. Everything the brand does suits her personality and style, she is the true mascot of moschino.

Franco was all about family style enviorment. During one of many iconic collection he design, using garbage bags [for a dress from spring/ summer 1994], one of the women he work with, her mother had to go out and buy the garbage bags – everyone’s involved! “that garbage-bag dress, from one of Franco’s final collections, was one of a handful to be included in the metropolitan museum’s punk-themed exhibition”Franco felt that people should dress as they want, not as they should,” says Rossella Jardini, his personal assitant who became creative director after his death in 1994, and it’s true that Moschino’s message was just as important as the surrealist and ironic creations he used to convey it. Since Jeremy Scott took on the role as creative director in 2013, Moschino has catapulted itself into the spotlight with its logoed designs, slogan t-shirts and pop-culture favourite phonecases being spotted on everyone from rita ora to scott’s other bff and collaborator miley cyrus - already blessed with a knack for tongue-in-cheek dressing for his own label, jeremy scott has embraced the “more is more” nature of franco moschino’s original aesthetic making the brand one of the industry’s most talked about once more. Supermodels of the day including Pat Cleveland and Violetta Sanchez, Amalia Vairelli and Gisele Zelany, to name few who all returned to the catwalk for the 30th anniversary in 2013 celebration, wearing clothes from the archive that they had previously modelled

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-*,(.*(,*""(/'$(#(0,'+/111 I’m seriously thinking of having a tattoo done right there and then, but looking around the studio I notice that neither the sprayer nor the tattoo machine are covered, as they normally are for hygienic purposes, and that our new friend keeps on touching things around without changing his gloves, so I give up and we leave his studio to see Marco. I’m really happy to find out that he’s the same tireless and busy man I knew back in the day. He invites us to lunch with him, telling us about his business, a place where you can both consume and buy high-quality Italian food. He also tells us that we can sleep at his place, a very nice top-floor flat in the Rose Bay area, so we finally get some rest. The next morning we wake up really early, like Sydney inhabitants tend to do, also because daylight appears around 5 am and only lasts about twelve hours. After a good Italian-style breakfast we start exploring the city, armed with our cameras.

After Japan our next destination is Australia – Sydney, to be precise. Our friend Marco is supposed to be waiting for us at the airport, but he’s not there: on the phone he tells us that he’s at work because he had forgotten about our arrival, but he gives us directions on which bus to take to reach downtown and where to get off. Daniela and I are exhausted from the flight, so we find this misunderstanding really discouraging, but Sydney turns out to be a surprisingly small city compared to Tokyo. While looking for somewhere to eat, we are astonished to see people having a cappuccino with their pasta or pizza – something unthinkable for an Italian. We start wandering around the city, looking for local tattoo studios. We soon find one and its owner’s welcome is very warm: amongst other things, he tells us that the second Sydney Tattoo Festival is taking place the following weekend and gives us all the info we need to visit it.

Since Marco cannot be with us the next day, we’re well aware that being on our own means that it’s going to be an adventure, so we only visit the nearby areas to avoid getting lost. In the evening he immediately takes us along to some Italian friends of his for dinner – something we really appreciate, because we must admit that we’ve felt a bit lonely during our journey. They flood us with questions about our country, speaking with a very thick Australian accent, and tell us how much they miss it. By 10 pm we’re ready to go to bed, even though we’re very excited about the tattoo festival the next day. On our way to the convention Marco stops to pick up somebody, who turns out to be the tattoo artist we had met two days earlier: it’s a small world indeed! The event is being held in a sort of holiday farm and feels a bit like a country fair, with games, local products for sale and speedboat races on

We are advised to catch a ferry to cross the bay and this is what we do: we are very impressed by how perfectly organized and efficient this city is, starting with the ferry that’s perfectly on time, and by the quantity of services available all over the place. As soon as it gets dark we have dinner and then go back home, still tired both from the flight and our day out in Sydney. The next day we have another early start and decide with our friend to visit the zoo, where one of the keepers allows us to touch a baby kangaroo. In our days out in Sydney we will find out that the best means of transport for moving about is the ferry. As the saying goes, time flies when you’re having fun, so our day comes to an end very quickly. While teasing us about it, Marco prepares a typically Italian dinner for us, so we go to sleep very happy with the day that’s just finished and full of anticipation about the day that’s about to begin.

morning we are so thrilled at the idea of getting a tattoo in Australia that we don’t realize we are almost two hours late for our appointment. This costs us our tattoos, because besides our huge delay the artist’s next client has already arrived. I feel really let down, and Daniela tries to console me reminding me of the studio’s bad hygienic conditions. We decide to spend the rest of the day visiting Sydney and looking for souvenirs to bring back home. Later on Marco tells us that Australians are punctual people and that he intends to take us out clubbing that evening. After dining at a pub, as people do over there after work, at the club Marco introduces us to a Maori friend of his: as soon as he hears that we’re doing a world tour and that we’re heading to New Zealand, he asks us to give an envelope from his part to his mom, whom he hasn’t seen in five years. We’re more than happy to oblige, if only to reciprocate with a kind gesture the warm welcome we have received from Australians in general. The next day we say goodbye to our friends and to Sydney, with the promise to come back and see them one day

the river that runs by its side. I expected it to be your average tattoo convention, where you find stalls selling technical equipments and materials and you can have a tattoo done, but I was dismayed to find out that it was simply a sort of meeting of tattooed people, with the purpose of having a drink and partying together. Everybody asks us to enter the tattoo contest, and Marco and his friends insist so much that we accept: we discover that we’re a lot more popular than we imagined, because Daniela gains the third prize in the women category and I gain the first in the colour category. Having become some sort of local heroes for the day, the party ends with loads of beer, offered by just about everyone as an excuse for meeting us and listening to our stories. As we’re about to leave the area and go to the parking place, our friends tell us to walk behind them in a single file because there might be poisonous snakes in the grass: this for us is an eye-opener on how wild this beautiful continent still is. Our friends drop us home and expect us the following day for a tattoo as a gift: the next

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tattoos, wolves, dogs, cats and vintage clothes and accessories (especially from the ‘40s and ‘50s).

Karine Leclère was born fortynine years ago in Dieppe (France), but from an early age has lived in Tourville-la-Chapelle, a village of about 400 inhabitants in the countryside, so small that there wasn’t even a bakery, let alone a clothes shop. She attends the Fine Arts Institute in Rouen, a city about 60 km away from home, and then moves to Paris to get a diploma as fashion designer – something she had been dreaming about since she was five years old. In 1988 Karine is employed by a well-known Italian denim company: she plans to live in Italy for just a couple of years, but she will remain with that company for twenty-two years instead. When Angelo Caroli [the owner of Italian cult vintage clothing store A.N.G.E.L.O., tn] asks her to become the manager of his historical archive of vintage clothing in 2015, she is thrilled and immediately accepts his offer. She had known Angelo for some time, since she had done research in his archive herself when she was a fashion designer. Her life and her passion revolve around her eighteen-year-old son,

fashink: Karine, tell us about your job. Karine: I work in a company directed by Angelo Caroli, who has been an institution in the world of vintage fashion for over forty years now, selling vintage clothing and accessories but also hosting an archive, which I manage. When you hear the word ‘archivist’ your mind immediately conjures up the image of a woman with small metal frame glasses, her hair in a bun and 2.5-inchheels, tidying up dusty folders. My job is nothing like that, and a hair bun is not compatible with my hair style. I call Angelo’s archive ‘the little Louvre of vintage’, so I feel that I’m the proud custodian of a veritable cultural heritage. The archive is essentially the embodiment of the history of fashion, from the early nineteenth century to the 1990s, something you can actually see and touch. My job includes several tasks. For the most part I assist the large number of fashion designers who 18

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from haute couture or high-end pieces to less prized garments but no less beautiful and interesting. At times several outfits need to be put together: this is the aspect of my job I love most, because it’s very creative and for a few days I get to be a stylist. We receive many requests by prestigious fashion magazines in this sense, using the very special vintage touch conveyed by our pieces to make their editorials really unique.

come here from all over the world and hire our items to do research work for their collections. Some of them like to involve me in this, and when they do I’m always happy to oblige. When young designers visit us I can help them out thanks to my long experience in the field – for instance, I can explain a printing or weaving technique to them, or I can tell them about the historical age of the item, or the use of certain military garments (something I didn’t know anything about before working here). Fashion collections are designed under extremely tight timing, so the companies that don’t have the time to come and do their research here write me emails with their requests. In this case I will make a selection of garments or accessories following their requirements. Then there’s the less glamorous part of the job, such as taking care of invoices and hiring contracts, preparing and packing the pieces to be shipped and putting back in order all the items that are returned once the contracts have expired. I also work on exhibitions, both organized by us and requested by trade fairs, museums, shows, cinema and television productions, etc. We might exhibit anything

F: How difficult is it for a fashion designer to update, so to say, a vintage garment? K: Style research in the vintage field has a long story precisely because these pieces are really timeless, meaning that they can easily be reinterpreted to fit into contemporary collections, which in turn often have a vintage inspiration, paradoxical as it may seem. Our archive in particular covers a period of about a hundred years in fashion history, so obviously sometimes it’s complicated to recreate the aspect of a fabric that was manufactured such a long time ago - a hand-knitted stitch, for example 22

- while keeping costs under control and using current production methods. In this case the designer’s skill and technical know-how play a very important part. In my opinion you should either use a contemporary material and cut it in a vintage fit, or conversely use a vintage-looking material for a modern fit. Sometimes vintage garments are quite simply reproduced to perfection, with only minor changes in their proportions, but I believe that the trick to achieve a great collection consists in mixing and matching vintage-inspired garments with totally contemporary ones.

contrariness and my rebel spirit that led me towards the world of fashion. My years in Rouen and Paris, when I started to hang around with metalheads, punks, new wavers, tattooed people and musicians and artists from the alternative scene, surely changed my way of thinking and my looks. Anyway mine is an ever-changing style, forever evolving. I like to be around all kinds of people, and I love mixing clothes from different eras, but rather than being typically French I think my style mirrors my personality, which is quite contradictory and surely eccentric.

F: Do you think your french origins help you when it comes to your sense of style, both in your personal life and at work?

F: Have noticed any changes in taste amongst your clients? K: Our pieces are divided into three main categories: vintage, designer and antique (from 1900 to around 1940). We’ve seen a strong increase in the request of ‘90s garments for a year or so, therefore many of our clients now book into our ‘designer room’, where we mostly keep pieces by Japanese designers, but the ‘80s are still going strong. Antique dresses, especially printed ‘40s pieces and ‘20s and ‘30s long gowns, are always

K: Well, one thing is for sure: they never took me for an Italian, even without hearing me speak with the thick French accent I’ve never lost, even though I’ve been living in Italy for over thirty years, and more than once I’ve been told that my style is very French! To tell you the truth I think what helped me most was having ‘antifashion’ parents, because it was my 25

get more tattoos. For instance, I got some of my tattoos to beautify my body, so that I could feel stronger and more self-assured, and without them I wouldn’t see myself as attractive. I only have three tattoos with a deeper and a more personal meaning: the initial of my name, that of my son’s name and a quote by my favourite singer-songwriter. Luckily in the fashion world you’re hardly ever judged for being tattooed. Tattoos or no tattoos, it doesn’t make a lot of difference, and as far as I’m concerned I’ve never had the feeling that my tattoos have interfered with my relationships with colleagues and clients. On the contrary, outside the world of work unfortunately I often feel the weight of prejudice.

very much in demand, as well as our huge collection of military clothing. Over the last few months apparently there’s been more interest in the ‘60s and ‘70s. As for editorials, at the moment almost everybody wants western-style pieces. F: What’s the relationship between your very stylized look, your tattoos and the external world? Do they do reflect your moods and your choices? And do you think they somehow affect your work and the way you interact with people? K: I used to be very shy, and I think this is the reason why I became a punk at the age of sixteen, so that I could hide myself behind this very strong style. A year later I got my first tattoo and my style changed: I got into psychobilly and started wearing ‘50s little dresses, always contrasted by tough touches like combat boots and a huge backcombed hairdo called coque in French, believing that with this look and attitude I could keep people at distance. As time went by my style became more feminine and elegant, but even though my self-confidence was increasing, so did my desire to

F: Do you act as a brand ambassador, wearing garments from the archive or the store? P: I bought my first vintage piece when I was sixteen and I’ve been working at A.N.G.E.L.O. only for two years, so obviously the vast majority of my clothes do not come from the store. I bought quite a few 26

F: Do you think a young person that is not very familiar with the fashion of the past can be good at vintage research?

of them during my research trips here when I was working as a fashion designer, though, just like I bought many more in other vintage shops around the world. I would say that my style is in line with the spirit of the archive, with all its pros and cons. I had to give up wearing high heels in order to be more comfortable, but on the other hand Iâ&#x20AC;&#x2122;m going back to my roots as a rebel in a way by wearing military garments, which are one of the shopâ&#x20AC;&#x2122;s strong points.

K: Yes, absolutely! I started working in this field before I was even twenty, and the only research work I enjoyed doing was in vintage shops. You need to be very patient: you need to examine each piece extremely carefully, because even a badly damaged garment, with rips, holes, stains or mends might become the

before I started working here, but as a matter of fact I’m still learning new things. It’s important to understand and meet the requirements of the designers who come here and hire garments from our archive. Some of them ask me to stay by their side, or ask for my suggestions regarding the choice of garments. Others ask me to prepare a pre-selection of pieces for them to examine when they arrive, and others still prefer to be left alone to work by themselves. It’s a huge reward for me when a designer confirms a garment or an accessory that I’ve presented him following my own taste. It’s not an easy job, though, so I cannot stress enough the importance of passion: you really, really need lots of it!

inspiration for fabulous ideas. I think it’s a question of passion, not of age. You really need to be very curious about every single part of the garment, including the most hidden ones such as linings, buttons and finishing details, because they often have a great story to tell you. One of our clients said something that perfectly sums up the matter the first time he came to visit us: ‘I feel like a kid in a candy shop’. He then hired about a hundred pieces, if I remember well. F: What would you suggest to somebody intending to enter your work field? K: I Like I said before, you can’t be surrounded by vintage garments every single day if you don’t love them in the first place. If you know about styles, patternmaking and the history of fashion you can surely be more efficient. As for me, every time I see a label of a designer I don’t know I immediately do my research online. If I don’t know the origins of a particularly interesting piece or don’t know how it’s worn I ask Angelo. I thought I already knew a lot about vintage

Special thanks to Angelo Caroli Shot @ A.N.G.E.L.O. VINTAGE PALACE 28

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1!(+2!,&3,"!$+! Giorgia was born in October 1996 in a small town in the Italian region of Piedmont, the last of six children of a family owning a small business in the bathroom fittings field. She reckons her competitiveness is a consequence of being part of such a large family. Her family lives in the countryside, so Giorgia grows up surrounded by nature and by her numerous pets, especially dogs but also horses. She soon develops an interest in racing cars, the rally type in particular, and enters the word of races herself. Her heart belongs to animals, though, so she has two tattoos done: one is a butterfly, symbolizing rebirth and love, bearing on its wings the initials of her dogs’ names, while the other is a horseshoe, bringing good luck and containing the initial of her horse, Ijan. Giorgia has then added another

tattoo, the footprint of her cocker spaniel Milù, as a symbol of loyalty, with a rose full of thorns, standing for her own personality, which has remained pure in spite of the conflicts and problems that she’s had to face. She’s had a happy childhood, but together with her siblings she’s lacked a vital factor: their parents’ love and attention, since they needed to work extremely hard to support such an extended family. This is one of the reasons why she’s had to grow up sooner than normal children; the other is a series of dramatic events. After an ordinary surgery to remove her tonsils at the age of nine, she has been diagnosed with an extremely serious disease that crushed down her immune defences. This marked the beginning of a particularly traumatic ordeal for such a young girl. In order to constantly 30

an anchor with the writing ‘I refuse to sink’, which becomes her motto. When she’s about fifteen, everybody, including her closest friend and her family, starts accusing her of being in denial of her being ill. To their eyes, she seems to have given up the fight, whereas in spite of her lack of energy Giorgia is more willing than ever to react. Things aren’t any better at school:

undergo medical examinations, in fact, she’s had to give up many of her passions, and her mother has even left her job to follow her full-time. Her disease, Behçet’s syndrome, unfortunately does not respond to treatments, so she needs to keep on seeing a lot of doctors and doing a lot of tests. Her illness has changed her life forever, but as a reaction against it one day Giorgia gets a new tattoo,

her teachers don’t understand how serious her condition is and harshly criticize her for missing so many days of lessons because of medical examinations. She decides to leave school and moves in with her boyfriend, and eventually she stops taking her medicines – something she had never done before. Her life doesn’t improve at all, however: her relationship doesn’t

work anymore and she sorely misses her family, her pets and her environment. Hoping to make things change for the better, she organizes a short trip to Tuscany with her boyfriend, but as they keep on quarrelling she continues her trip on her own, heading to the Elba island, a place charged with happy memories of her childhood holidays.

Special thanks to Valsesia Motors

Over there she meets up with her cousin Sergio, who has always felt like a brother to her and with whom she shares many passions. In spite of her extreme weakness, she seems to have found joy again by moving away from everything that reminds her of doctors and hospitals. After this wonderful holiday, however, once she’s back in her home town she receives tragic news: her cousin Sergio has suddenly died. Once again her world falls apart and she gets another tattoo done: the date of that day, the 26th January 2016, with an odometer drawn inside a dreamcatcher, standing for the passions they both shared. At the car races Giorgia then meets Vittorio and Alessandro, who still are very close friends of her, always ready to support her both emotionally and physically. With the help of her mother, in 2017 Giorgia opens a restaurant in her home town: she’s well aware of the fact that it’s not going to be easy at all, but she relies on her own determination and doesn’t feel any

fear. On the contrary, she chooses the eighth anniversary of one of her major surgeries as the opening date. The restaurant’s previous management wasn’t very popular, but Giorgia’s infectious energy and enthusiasm turn things around and people react extremely well, expressing their appreciation and paying their compliments. Unfortunately this situation isn’t meant to last: the envy on the part of some individuals and her illness put her in trouble, so she decides to take a break from all that is harmful and dangerous for her and to resume her therapy. Today, with the help of her mum and of her friends Vittorio and Alessandro, Giorgia has found the right attitude to face her life with a smile, making the most of her strong character. She’s gone back to school, so that she can finish high school, and she continues to rally race with her two friends, with the firm belief that her guardian angel will always protect her from up above.

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Valentinaâ&#x20AC;&#x2122;s photos by Raffaella Esposito 36

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Samuela Maggi, was born in the Italian province of Varese in 1988, but after the birth of her daughter Linda in 2011 she moved to Milan. Following her passion for drawing and tattoos and making the most of her art studies, in 2012 Samuela starts her apprenticeship in several tattoo studios. In spite of the hard work implied by being a young mother, she is determined never to neglect her professional life and starts to build her own personal style. She has been working at Manulibera Tattoo Studio in the Milanese neighbourhood of Lambrate for almost two years now, always carrying on her research on the world of tattoo.

Valentina Besana, AKA â&#x20AC;&#x2DC;Vally Bâ&#x20AC;&#x2122;, has been passionate about art ever since she was a child: her grandfather was a painter and she loved fashion so much that all that she could do was draw clothes. After studying graphic design she develops an interest in the world of tattoos and a few years later she becomes a tattoo artist. Now that sheâ&#x20AC;&#x2122;s been in the field for three years she has moved to Fano, in the Italian region of Marche, where she works at Under Skin Tattoo Shop. fashink: How would you describe yourself as a person, simple or complicated? Samuela: I think of myself as a rather

personality or your moods somehow?

simple person, and to tell you the truth being simple is my purpose in some way. I like better and appreciate more people who are not too complicated. I love simplicity in all its forms.

S: I think that my works represent the peace of mind I wish I had in my life, rather than reflecting my personality. I try to convey this atmosphere by drawing relatively cheerful and simple illustrations. I detest the depictions of gloomy, sad or violent subjects: besides, the world we live in is already flooded with these negative emotions, so I strive to avoid them by expressing something that it lacks, such as peace of mind.

Valentina: I would say I’m quite simple as a person, and most of all that I’m patient and calm. This is something I really like about myself, especially when it comes to the relationships with my clients: besides being their tattoo artist, in fact, I aspire to become a reliable friend to them, someone they can always turn to

V: Yes, they do, and in fact most of the times it’s precisely when I’m a bit down that I feel like drawing. In

F: Do your drawings reflect your

those moments I see the blank sheet as my best friend, someone I can tell just about everything, and I’m convinced that those are the days when I’m at my best as an artist.

traditional style. I show my clients many designs of my own creation and when they choose one of them I feel on top of the world. The fact that a person will wear one of my designs on their skin forever is the most rewarding aspect of my job.

F: What do you prefer to use, coloured or black ink?

V: I mostly do blackwork and dotwork fillers. I like my tattoos to look extremely delicate, so I tend to use fine lines. As for the subjects, I love to draw very feminine shapes and to reinterpret in my own personal way the input I get from my clients. But my favourite subjects ever are hearts: I find them fascinating and incredibly inspiring.

S: I find many black ink tattoos extremely elegant, but I still prefer to use colours, because they too transmit positivity. I study colours and how to combine them in order to increase the feeling of serenity I’m looking for in my designs. I love using colours, basically, and I love playing around with them. V: I’ve always drawn in colour ever since I remember, but for my tattoos I prefer to draw in black and white, because I think it gives my designs more character.

F: What is the message conveyed by your style and your designs? S: As I told you before, my message is a mix of peace of mind, simplicity and a little bit of positivity too, which I feel is lacking nowadays. As our lifestyle is so frenzied and stressful, I like treating myself and other people to a more relaxing perspective on

F: What is your favourite kind of designs? S: My work is shaped around a new 42

life. This is one of the reasons why nature is an inspiration for many of my designs, with animals or women with contented and calm expressions. It’s as if I wanted to escape the city chaos I’ve been living in for quite some time now: after all I was born in the mountainside, so probably it’s a sort of going back to my roots.

than me, so that I could learn both from their technique and from their experience, a factor I think is often totally underrated. As I learned in particular over the past few years working alongside Emanuele Sircana at Manulibera Tattoo Studio, spending time with experienced professionals can only do you good. I feel that today this part of your professional life is overlooked, unfortunately.

V: I’m really shy, so I’m trying to use art to tell people about myself, to express all the feelings I always keep within myself.

V: If you ask me, a tattoo artist must be capable of doing more or less everything before he can consider himself a complete artist. As far as I can see, many young people today see tattooing as a way of making easy money, and therefore only focus on current trends. I don’t necessarily think this is a mistake, though: what I wish they knew is that having thousands of likes on social media is not enough to call yourself an artist, and that what is really necessary instead is being willing to sacrifice a lot in their lives, aiming at learning new things every single day and most of all avoiding arrogance.

F: There are many young tattoo artists who sometimes prefer to go for mainstream or on-trend designs, rather than using their own drawings. what’s your opinion on this attitude, considering that it differs so much from the default settings of this field? S: I too belong to the new school, but I think I did my best to build my own creative personality, trying to do my job well and avoiding all kinds of competitiveness. I always sought to work with better artists 43

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P L E O

by the fashink Group Photo by Stefano Padovani

L AU R A A B E L A

L`Aura can boast a unique talent as a writer, composer, pianist, violinist and singer as well. Her unmistakable and sweet-yet-powerful voice creates sophisticated atmospheres that are truly enchanting with their beauty. Her first album “Okumuki” gets released in 2005 and the single “Radio Star” becomes a radio hit. The video of the song, shot on the streets of Los Angeles, gets played heavily on MTV and receives huge media coverage. The following CD singles “Today” and “Una Favola” (“A Fairy Tale”) make it to the first 50 top selling singles. “Irraggiungibile” (“Out of reach”) is the hit song that allows the album to sell more than 50 thousand copies in Italy.

In the following 10 years L’Aura releases three albums. She can boast collaborations and duets with major Italian superstars , such as Laura Pausini, Nek and Gianluca Grignani. She also shares the stage with artists of the likes of Alanis Morisette, R.E.M., Ben Harper, The Dresden Dolls, Emiliana Torrini, Rufus Wainwright, Renato Zero, Claudio Baglioni and Ligabue. On September the 22nd of 2017 L’Aura releases “Il contrario dell’amore”, her fifth record up to date. Her new album focuses on the absence of love in personal relationships and deals with sounds and themes from the golden ages of rock: the 60s , 70s and 90s. In the same year L’Aura publishes a book named after her latest record. The book is a collection of three stories whose main characters are named after famous songs from the previously quoted decades. The stories are partially autobiographical and strongly relate to her latest album.

The first time I sang in public I was three years old. Mine was one of those powerful voices that really stand out, so I was often cast out from choirs. On the other hand, your voice mirrors your inner world, which in my case was already messy. For a very long time I sang just about anything, from cartoons theme songs to classical music. When I was four I started playing piano and four years later I began taking private lessons. I wrote my first song at nine, and at ten I fell in love with the violin and started learning how to play it, both solo and within an orchestra. I’m the only person in my family who can play an instrument. My parents can sing quite well, but music has never been their passion. I couldn’t really say why I started writing music. Maybe it was because my teachers would always tell me that I was an awful musician, that I had no memory and that I was lazy and not gifted. In any case, by the time I was fourteen I had already written many songs, and by pure chance in an MTV chat room I met my first manager: that’s when I began working on my music professionally, collaborating with several producers. Between the age of seventeen and nineteen I lived in California, learning English and continuing to write with a famous Italian producer. When I was twenty I started recording my first album, ‘Okumuki’, with Enrique Gonzalez Muller, my best friend during my Californian years. Then I signed with a major and they insisted on me keeping a teenage look. Technically I was still a teenager, but I felt like I was a million years away from the average ‘teen product’, and from the majority of other teenagers too. So when I wrote my second album, ‘Demian’, I decided to take my creativity and my look into my own hands, producing the tracks myself and working with film directors and photographers in order to get precisely what I wanted. I have a love-hate relationship with fashion: I suppose it’s an important factor in my life, otherwise I wouldn’t feel so strongly about it. My obsession with shoes dates back to when I was 52

eight. My mother has always been an extremely elegant and tastefully dressed woman, so I guess that my interest in fashion is the natural consequence of the way she taught me how to appreciate beauty. I don’t follow fashion trends that much any more: I play it by ear, following my moods and going where my music takes me. I really want my look to reflect my inner dimension. As a woman I do enjoy playing with looks. What I certainly don’t enjoy is feeling the pressure to always look young and beautiful, which is what social standards are about today. Times passes for everybody and you just can’t look twenty forever. When I was twenty-two I wrote a song called ‘I just Want to Grow Old’, because I never gave a damn about other people’s opinion. What I wanted to do was growing up and improving as a musician, and not conforming to a pre-packaged stereotype. Today, in the age of talent shows, it might seem that artist don’t exist outside the dimension of television, yet real, talented musicians do exist: all they need is to come to terms with reality. I have nothing against talent shows, I mean, for a contemporary artist they’re a great way to emerge, but I’m really glad I didn’t need them when I was younger: I’ve always been oversensitive and I don’t think I could have coped with rejection. My constant advice to kids entering the world of music is to always have a plan b. Today’s reality is extremely tricky and difficult to handle, unless you have a very determined personality and an entrepreneurial mindset. Of course not all singers are born with a business-like mentality, but if you want to make it you really need both to be shrewd yourself and to have an excellent work team. Becoming a mother has changed me in every sense. You can say that there’s a before and an after in your life. Before I was really angry all the time, at everything and everyone. I was the typical rebel, always looking for something I didn’t even know what it was. Since I had Leonardo I’ve changed, I’ve grown up. Children need strong, reliable reference points. I can’t say that I’ve reinvented myself, but I can certainly say that I’ve found my balance. My husband Simone, who is also the producer 57

of my latest album ‘Il contrario dell’amore’ (‘The Opposite of Love’), a concept album on ‘60s, ‘70s and ‘ 90s music, helped me a lot during this delicate process. I drew some of my tattoos together with him and we had them done together, in the same sessions. My tattoos reflect specific needs and I had them done in very important moments of my life. As for their meanings, I explained some of them to the people I love, while others I will never tell anyone. I would have many more done if I could! The next one will be dedicated to my son, and me and my husband will get it done together again. I have a really special family; my son too is very talented: he loves drawing and is incredibly smart for his age. While I was writing the album I also wrote a book, consisting of three short stories set in the decades I chose to celebrate. Some of the events told in the book are fictional, while others are not. Mine was an attempt at expanding the stories told in the album’s lyrics without going into too much detail though, because this content is too personal and often related to my nearest and dearest: prose seemed to me the perfect medium. The book also contains photographs of the three alter egos that are the book’s protagonists: Lisa (from Cat Steven’s ‘Sad Lisa’), Lucy (from ‘Lucy in the Sky with Diamonds’) and Mary Jane (from Alanis Morissette’s song of the same name). I chose these three songs first of all because I love them, but also because I find them all symbolic of their own age. Even though there’s a lot of romance in the stories, it’s not children’s stuff, and it’s not for the faint of heart either. It’s quite pulp actually, and can be bought from the Music First website. At the moment I’m working on an album which hopefully will be released by the end of the year. I took a long break from 2011 to 2017, but now I feel I shouldn’t waste any more time, because music is really too important for me to neglect. It’s my safety anchor, the nest to go back to, a real friend, a loyal sister who will never betray me. Special thanks by WhiteStudio 2.0 and Mattia Bonvini 58

Architectur

& Co

The other side of Milan The beauty of brutalism by Lara Zibret

“Abandoned factories and forgotten, construction, railway stations, modern buildings, man-made architectures for human but immortalized free from his presence, the “non-places”, where the space is empty, where the corners, facades, heavy metals, glass and cuts that willingly blend with the sky create a single body, waiting to be frozen in a moment.” Croatian photographer Lara Zibret sharing her moments.

Via Luigi Prinetti

The Milan that is known to the most part of people is the one with the new architecture, or the poshy Milan with the incredible insides garden and villas on the canal sides. The fashion and shop- ing streets, business centres and of course the Duomo.

Parco delle Memorie Industriali

Very well. The Milan that I fell in love with is the one form the photos of Gabriele Basilico. The old fabrics the suburbs, the lonly buildings and huge streets.

Quartiere Adriano

People usualy try to avoid this kind of places. Iâ&#x20AC;&#x2122;m finding them extremely fascinating. The brutal architecture, the metal, the minimal design is what made them interesting to my eyes.

Fiera Milano City

Milano fiera

Via Privata Giovanni Ventura

Parco della Martesana

Milano Tre Torri

by Gaia Marchini

ORTclub photo by Stefano Padovani

Alia Marcellini Born:

Salsomaggiore Terme Italy 11/07/1991 Height: 160 cm Weight: 50 kg Profession: Downhill Rider web:

www.facebook.com/alia.marcellini

Career: Started on Downhill Italian Championship from 2009. Currently Downhill World Cup Rider. Winner of 2009, 2011, 2013, 2014 Downhill Italian Championship. Results: Winner Downhill and Enduro titles, in 2017 6th place in Leogang (Austria), 6th place in Val di Sole (Italy). 2009 Downhill Italian Championship 2009 European Downhill Championship 2011 Downhill Italian Championship 2011 Enduro Italian Championship 2013 Downhill Italian Championship 2013 Downhill World Cup 2014 Downhill Italian Championship 2016 Downhill World Cup Italian Round 2017 Downhill World Cup Austrian Round

pos 1st pos 3rd pos 1st pos 1st pos 1st pos 15th pos 1st pos 6th pos 6th

Fashink: Over time you have won national biking races in the enduro and downhill categories and you have scored great results in your international races. Trainings, exertion, mistakes and triumphs have all left their marks on your body. If I asked you to think of your next goal, what would that be and what would it require you to do?

meters, so anything might happen from one moment to the next. You fall very often and sometimes you get injured: mostly itâ&#x20AC;&#x2122;s scratches and bruises, but you can also end up with a few broken bones. But when youâ&#x20AC;&#x2122;re passionate about your sport all of this becomes secondary. I had a serious accident recently, so I had to stop racing. I had great expectations and projects for this season, but hopefully they are just being postponed and not definitely cancelled. My main goal remains to reach the top worldwide position in my disciplines, enduro and downhill. I find these two motivational quotes

Alia: Well, yes, I must say that Iâ&#x20AC;&#x2122;ve got quite a few of those marks, because unfortunately these are dangerous sports. You race really fast on paths that are steep and bumpy, with rocks and trees, then you might jump from a height of over 20

part of CONI [the National Italian Olympic Committee, tn] means receiving both its support and funds that are mostly spent on winter trainings, transfers, trainings and competitions. Another issue is the lack of visibility and media exposure, which makes it really difficult for us to find sponsors. To give you an idea, even though Iâ&#x20AC;&#x2122;m one of the top athletes worldwide I cannot get any financial backing, so I make a living by working as a mountain bike guide during the winter and save as much as I can to be able to do the summer racing season. My opinion is that this sport would

really inspiring: nothing can be gained without sacrifice and without courage, and he who is capable of suffering will win. F: Your discipline is not recognized as a sport by the Olympic Committee, which means that you donâ&#x20AC;&#x2122;t get financial help from the Federation or from any big sponsor. How much do you have to give up in order to keep up your professional standard, and what should change, in your opinion? A: The fact that unfortunately neither downhill nor enduro are recognized as sports is really detrimental for us athletes. Being

Ph. Yuri Cortinovis 76

you like a simple life, yet the minute you put your helmet on your wild side comes out. What can you tell us about this metamorphosis?

really benefit from a little more consideration and trust. F: Because of your recent accident you had to stop your scheduled training. Being a competitive mountain biker means following a strict routine consisting of gym work, practice on the race fields and training. Your latest season was great and it is evident that you intend to up the ante. What do you think your results will be like next season?

A: This is the best part: it’s the reason why I love this sport. When I put my helmet on something clicks inside of me, just like superheroes on TV. Fastening that helmet means changing the perception of my surroundings, as if I was running on a battlefield full of dangers and enemies. Everything outside that carbon cap disappears, there’s just me and my bike: everything gets muffled, even noises disappear, so I lock myself in my bubble of focus, adrenaline and passion and give my best!

A: As I told you earlier, I just broke my knee, so for me the 2018 racing season never even started. Soon I will undergo surgery, and my recovery will be long and difficult: it will take at least six months before I can finally start training again. I will try to relax and unwind because I want to get things right, without hurry. What I want to achieve is just going back to my previous self, so that I can start racing again and keep on winning.

F: Your state of mind often affects you when you choose your tattoo. What do your tattoos mean for you? A: I have many tattoos and each one represents a state of mind or a part of my life that I intended to commemorate. The Polynesian turtle on my side was my first tattoo and represents my personality: it’s a solitary and independent animal, it travels a

F: When you’re not embodying your athlete persona, you’re very feminine; besides, you love nature and adore your family, which includes no less than five greyhounds. Apparently 79

armband as a symbol of strength. Finally, my latest tattoo, the one I’ve had done on my leg during the interview with you, is a sentence that resonates deeply with me and that I first read on a calendar given to me by my grandma last year: ‘you can’t live a fairytale if you’re not brave enough to enter the forest’. Literally speaking, the forest is my environment, the place where I practice my sport and where I spend most of my time, and to do what I do I need some courage every single day. But the forest is also a metaphor for life itself, a place where you can meet the big bad wolf, and for peace and quiet. All this, all that is written down on my body, is my story so far, and there are still many more pages to be written.

lot and even though it’s not always nearby it highly values its family. The Maori design on my back with the bike sprocket obviously stands for my endless love of motocross: I first rode a bike at the age of five and it’s a sport I still practice. The three hibiscus flowers in Polynesian style on my foot represent my family and they include the initials of my parents, which are of my own design. On my side I placed a tribute to my first dog, Maggie: she’s the angel I grew up with for seventeen years and even though she’s not here anymore I still feel her presence next to me. The small sun with the writing ‘follow the sun’ on my ankle is a tattoo I did with my cousin after a few glasses of wine too many and a debate on Xavier Rudd’s song of the same name. The Polynesian tattoo on my arm with the warrior’s mask sticking out its tongue is my largest tattoo and was drawn by an ex boyfriend of mine. I’ve decided to have the tattoo done even though our relationship is over, because it will always remind me of such a beautiful period of my life. I chose to have a small Maori

F: You began your international career at an age when many athletes leave the world of sports because they’ve run out of stimulus, having started when they were really young. You are the exception that confirms the rule. Do you reckon that your maturity might have sped up your success? 80

A: I started racing late, at the age of eighteen. I had been playing tennis for twelve years before I started bicycling, so I guess that back then I was already too old to reinvent myself in another sport and to start a high-level sport career. I never had any problem changing discipline, though: it surely helped that Iâ&#x20AC;&#x2122;d always been doing motocross, because if our bicycles had engines they would practically be motorbikes. As for starting out so late with bicycling and getting there more mature mentally, I see is an advantage: there are many athletes who started really early in their lives and were extraordinarily successful, but then by the age of twenty they had lost all their motivation and sense of meaning

Courtesy of Andreew Northcott Special thanks to lostudiodel25tattoo 81

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OUTSIDER Marcella Galdi Dâ&#x20AC;&#x2122;Aragona enters the world of fashion around 1970, after working as a news reporter for quite some time. We have decided to tell you her story as a homage to a woman who can be certainly regarded as one of the pillars of Milanese fashion.

by the fashink Group | Photo by Stefano Padovani 82

her sister will attend the Collegio Reale delle Fanciulle, a prestigious girls’ school. When Milan starts getting bombed by the Germans, worried about his daughters her father rushes to Milan. The school directors have already moved all the girls to a safer location on Lake Como, so he immediately returns to Rome: she will never see him again until she is thirteen and both of them leave the school. Marcella’s sister goes to live with her mother’s parents, who live on a city on the Italian coast and with whom she has always got along very well, while Marcella is brought to Rome by her father, following the orders of his mother, the former Sardinian shepherdess - a very tough woman. In Rome her father has a new family now and has had two sons from his new partner. Marcella adores Rome, where she studies art and finally has the chance of getting to know her father. Unfortunately, however, her grandmother soon calls the family to order and decides that the girl will return to Milan and live with her mother. Marcella works for a prominent architecture study for about ten year, thus following the blueprint of her studies, but the unpredictability that has always characterized her life makes her restless: she decides to leave architect Canella’s studio to become the assistant of Giuseppe Trevisani, a well-known left-wing news reporter. When she’s asked whether she can write in shorthand – an essential skill in order to use a typewriter - , she bluffs and says she can. She teaches herself shorthand somehow and quickly learns how to take notes of what is being dictated to her very fast by Trevisani, who never

Even though Marcella has lived all her life in Milan, her roots are not Milanese at all. Marcella’s father is an aristocrat and belongs to an ancient Neapolitan family of Spanish origins, the Counts Galdi d’Aragona. In the early 1900s her grandfather, a handsome, tall and blond naval officer, during one of his missions in Sardinia fell in love with a young shepherdess. It sounds like a fairytale, but it’s absolutely true. Running the risk of being convicted, he took her with him on his ship away from the island to marry her as soon as possible, which they did; the couple had five children, one of whom was Marcella’s father. He too will marry a woman from another region: in Milan he meets an Umbrian woman who had relocated there to follow her own grandmother, Antonietta – an unconventional and daring woman who will become a mythical figure for young Marcella: she had in fact married her young Latin professor and had followed him to Milan when he was transferred over there. When the Second World War is over, Marcella’s family decides to drop their title, both because the historical, political and cultural climate in Italy is changing and because they never cared that much about it. They maintain their surname, however, and Marcella believes that the awareness of their noble origins gave them all more character. Her sister was born in Naples a few years before her, while Marcella was born in Sassari, a city that she’s never been to, in spite of having travelled so much for work in her life. Marcella’s parents divorce immediately after her birth: her father moves to Rome, while her mother stays in Milan. When she’s six, her mother decides that she and 84

and go from his office, he is glad to tell her that he’s the director of a model agency – a bit of a novelty for Milan. She immediately feels something switch inside of her, and when she casually says ‘Well, it sounds like a fun job: if you need any help I’m available’, Riccardo thinks she can be the right person to join what so far has been a family business, given that he works with his sister Lucetta. All Marcella knows about fashion is what she sees in the magazines, but this doesn’t intimidate her at all. She surely doesn’t lack the working method, the self-discipline or the goodwill, so she quickly learns how to become a booker, that is the person who finds work for the models, most of whom were foreigners. Back then there was just a handful of Italian magazines - mainly ‘Grazia’ and ‘Annabella’ - , which were making a transition from taking pictures of dressed dummies or printing the fashion designer’s sketches to shooting clothes worn by actual women. Riccardo has created a business that is brand new for this city, but that will prove to be revolutionary for the Milanese fashion system. He is in excellent terms with the French and Scandinavian model agencies and strongly believes in the potential of Nordic girls, blonde, tall and beautiful – the women of our dreams for us Latins.

realized that this girl of twenty was actually improvising: what he noticed, though, was her stubbornness and determination. She works with him until his clear-cut political inclinations cause him to lose his job in Milan and he therefore has to move to Bologna to write for another newspaper. In the meanwhile Marcella has got married and in 1961 has had a baby, Michele. Her next job is in an advertising agency called CEI, whose owner is in her words ‘very demanding’, and in fact gets very angry when he finds out she cannot write in shorthand professionally, but on the other hand he notices her potential and doesn’t fire her. He keeps on giving her extremely long texts to type, as if he wanted to punish her for not being qualified for this job, yet Marcella is very determined and hands in her work without any mistakes or corrections – also because when there are mistakes her boss throws the document about the room and orders her to type it all again. This hard, almost military discipline is nothing new to her, because it reminds her of the time spent with her grandmother and her father. She will change job again and again, until one day in the courtyard of her house in Via Revere she meets Riccardo Gay, a goodlooking young man, with a firm attitude but kind and very private. When she asks him why so many gorgeous women come 88

their photo shootings from abroad, but now Milan too has its fashion system and is capable of producing photo shootings that are much more suited to Italian style. A number of French agencies have noticed that the Milanese scene is developing and open their Italian offices: although this might cause Riccardo to lose some work, on the other hand it is an incentive to improve and to become more competitive. He in fact learns from these agencies about a number of well-established procedures. For example, there still aren’t any fashion shows in Milan, except for the presentations held by Biki, which are almost private in character because they are reserved to the house’s clients. The agency now needs to grow and Riccardo and Lucetta have hired a number of young assistants, given that by now he spends most of his time abroad doing scouting, that is looking for new talent to represent here in Milan. The new assistants are trained very carefully: there is no room for mistakes, because Gay wants the maximum possible control over the newly formed market. For each model they fill in a weekly file with the details of all her castings, appointments and jobs. Considering the technology of that time, with hindsight we can surely say that it was

The agency is so successful that he has to expand it, also because Riccardo’s reputation has always been impeccable - something that cannot be said for other agencies. The presence of these beautiful women in the world of image and advertising attracts investors, and Milanese high society is hypnotized by these beauties and by everything that has to do with them: fashion is a rapidly growing field. Enthusiasm is sky-high in these golden years: Marcella is overflowing with energy and drive, and this job is so different from all her previous occupations that feels almost like playing to her, and in fact she’s never stressed or exhausted like she was in the past. Speaking English is a must, since most models are foreigners, and the culture gap for other staff members who aren’t used to travelling much is huge. In the beginning her tasks are organizing the models’ journeys to Milan, finding flats or rooms for them, compiling their photo books, instructing many of the girls on what to wear to make the most of their castings, sometimes suggesting image changes such as a new haircut and finally contacting the fashion journalists and the fashion designers to inform them on the arrival of a new model in town. Until recently fashion magazines used to buy 91

taught her everything about this job and a great boss: quite simply, it was a matter of trying for the first time to do something by herself. She opens Star System Studio, one of the very few model agencies, together with Beatrice Models, run by women. This time Marcella is scared, yet she’s sure that she’s not going to work for any other agency after Riccardo Gay, because none of them can ever compare with those very high standards. She also knows that in the business her decision is seen as a mutiny and that her every move is being closely watched, but nevertheless she follows her call to become the leader of

a very complicated job, both from a mental and from a physical point of view, and it also required a healthy dose of intuition and smartness to understand how to meet the client’s needs over and over again. The weekly files are very similar to those used for managing the daily and weekly tasks of factory workers, and the working method used in Gay’s agency will become a sort of landmark in the modelling business. After a number of years spent at Riccardo Gay Model Management, Marcella takes another big step forwards and decides to open her own model agency. She is keen to emphasize that she never had any kind of problem with Riccardo, the man who

‘smelling shit’ around: shady characters, attracted by fame, success and gorgeous girls, are approaching the world of agencies. Marcella, having always been an ‘all or nothing’ kind of person, is disgusted by this situation, so having her own agency allows her to keep these people at bay and to maintain her business untouchable in terms of ethics and professionalism. Fashion and models are becoming a very lucrative market that raises the interest of all sorts of investors: businessmen, jewellers, building contractors and industrial tycoons. Hers is a small reality, without any big financial backer, but she detests having to deal with these huge companies – ‘too

her own project. By now she’s aware of her skills and qualities, and she’s always been a bit arrogant when necessary, so she starts putting together a work team mainly composed of women, whom she never got to call ‘assistants’ because she sees them as collaborators, people who work at close contact with her and who are critical for the success of her business. Luckily all her close friends encourage her in this new venture, seeing that creating something that better fits her personality can only have positive outcomes and that as a matter of fact having women bookers is quite innovative for Milan. Those are the days, in fact, when in her words you start

she believes in all kinds of emerging talent, so she sees no problem in letting her beautiful models work with unknown photographers who are just starting out, without questioning their skills. After many years at her agency, Marcella feels it’s time to change once again, partly because she’s starting to find everything too tiring and partly because technology is becoming an overwhelming presence. Besides, over the years she has noticed an increasing ruthlessness and much unfair competition, so her innate pride makes it impossible for her to adapt to all these changes and she prefers to let it all go and start doing something different instead. What she does is become a tutor in other model agencies, teaching young members of staff her methods and sharing her work experience to train the new generation of bookers. Just before she takes this decision, her son Michele, who has always been his trusted advisor even though he has never entered the world of model agencies, tells her that he can’t recognize her true spirit -she doesn’t look that happy and she’s noticeably not enjoying herself anymore. In her new occupation she meets again people who appreciate her way of being and of working, a bit like what happened with Riccardo Gay at the beginning, but just as she had entered the world of fashion, that is from one day to the next, she decides to abandon it. Before definitely closing the Marcella’s Studio chapter, she gives it another chance opening the men’s department, but it doesn’t last for long. This is Marcella, an elegant lady who has greatly contributed to the splendour of Italian fashion.

much champagne’, in her words - , so she closes her first agency and opens Marcella’s Studio. Now that her business is named after her, there can be no more room for ambiguity and it’s very clear for everyone how she works, and how she wants to continue to work. Marcella clearly recalls a nasty incident, a dinner with agents, clients, models and ‘golden boys’ belonging to the new Italian high society where unpleasant and distasteful things took place, which convinced her for good to rename her agency. Marcella’s politics and procedures are ground-breaking. For example, while other agencies do their research looking for models that are already working and have a good-sized book, she hunts for new faces in the most improbable places: schools, supermarkets, restaurants, and not only in big towns but also in small villages – possibly just like his grandfather had found his little shepherdess in Sardinia so many years before. She adores the challenge of discovering new girls, taking them to Milan, preparing them and then presenting them to the hottest photographers, and in fact some of the girls she had discovered have starred in the worldwide press campaigns of designers such as Giorgio Armani and many other international big players. For a woman who until a few years earlier was just one of the end-users of fashion, like the vast majority of us, the satisfaction of having created all this by herself, and of having contributed to something this big is priceless. Another of her peculiarities is her openness towards young photographers, both Italian and foreign: unlike most model agencies, 94

!"#$"#%$&'($)"#$*)"#% Photography Stefano Padovani Stylist Veronica Ruggeri Make-up/Hair Samuela Nova Agustina, Carolina @Beyond Models, Amy @nologo Shot @DG Loft, Extreme Fitness, American Dreams

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Catsuit : SALVATORE VIGNOLA Bodysuit : DROMe Shoes : LILIMILL 97

Carolina Earrings : &OTHERSTORIES Scarf: POMANDÃ¨RE Underwear : HANRO Kimono : BkiB Amy Earrings : Lora Nikolova Top: HANRO Jacket : MANGANO Boxer : HANRO

Turtleneck : Leviâ&#x20AC;&#x2122;s Shirt : Gallia Jacket : Shirtstudio Bag : HIBOURAMA Trousers : MANGANO Shoes : SOLDINI

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Kimono : BkiB Necklace : Lora Nikolova Underwear : Wolford

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Bodysuit : MANGANO Trousers : WOLF TOTEM

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Necklace, Neckpiece :barcelet FrenchSharra Connection Pagano Jacket Black Shirt LES HOMMES : BEATRICE B Pants Red Shirt M Missoni : Victorvictoria Glasses Skirt : POMANDÃ¨RE Eyepetizer Bag :Redemption Benedetta Bruzziches Shoes Socks :Cinti Wolford Shoes : Manfredi Manara

Dress: Lola Swing High Cabinet: Work

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Pink shirt : MANGANO Blue shirt : 120% Jacket : BEATRICE B Bag : SALAR Trousers : COMPAGNA ITALIANA Shoes : BY ANABELLE 104

Catsuit : Sfizio Jacket : DROMe

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Sweater : A-LAB MILANO Sleevless Sweater : COMPTOIR DES COTONNIERS Trousers : WOLF TOTEM Rings : FABIO LISSI

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T-Shirt : Petit Bateau Braces : Carlo Pignatelli Jeans : COTE Shoes : LILIMILL Carabiner : FABIO LISSI 108

Necklace : Rosantica Dress : Piccione.Piccione Bra : HANRO Undercoat : Domenico Cioffi Bag : Benedetta Bruzziches Shoes : BkiB 109

Agustina Top : COMPTOIR DES COTONNIERS Jacket : Petit Bateau Amy Overall : SALVATORE VIGNOLA Jacket : PENCE 1979 Necklace : AVRIL

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Shirt : Schneiders Underwear : HANRO

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Bodysuit : Pierre Mantoux Vest : KATE by LALTRAMODA Skirt : AVANT TOI

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Carolina Bra : HANRO Dress : MANGANO Ring : FABIO LISSI Agustina Shirt : Victorvictoria Sweater : COMPAGNA ITALIANA Jeans : SALVATORE VIGNOLA Ring : FABIO LISSI Pipe : AL PASCIAâ&#x20AC;&#x2122;

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Photography Stefano Padovani assisted by Mattia Guarnieri Stylist Veronica Ruggeri Model Bambi @26 Models Makeup/Hair Greta Roncoroni Shot @Spazio Casting Milano

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Dress : MARYLING Necklace : MIAHATAMI

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Jacket : archive Veronica Ruggeri Belt : Leviâ&#x20AC;&#x2122;s Necklace : Rosa Antica Bodysuit : Habsburg Shoes : Melissa

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Necklace : Cor Sine Labe Doli Kimono : BkiB Shirt : Massimo alba Shoes : Ouigal

Bag: Salar

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Shirt : Department 5 Gloves : Bruno Carlo Jacket : Molly Bracken Shoes : Premiata

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Earrings : Zara Jacket : Altea Bag : Trakatan Shirt : Fracomina Jeans : Leviâ&#x20AC;&#x2122;s Shoes : Premiata

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Earrings : archive Veronica Ruggeri Blouse : Department 5

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Belt : Leviâ&#x20AC;&#x2122;s Jacket : Laura Rinaldi Trousers : Molly Bracken Shoes : Melissa Socks : MIAHATAMI

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Sweatshirt : Leviâ&#x20AC;&#x2122;s Dress : MIAHATAMI Gloves : Benedict Socks : SARAH BORGHI Shoes : Marion Ayonote

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Shirt : archive Veronica Ruggeri Coat : Shirtaporter Bag : Francesca Castagnacci Fishnet tights : Calzedonia Shoes : Ouigal

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Necklace : archive Veronica Ruggeri Bodysuit : Deha Blouse : Department 5 Trousers : Laura Rinaldi Shoes : Melissa

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Jacket : MIAHATAMI Shirt : Letizia Scotelli Dress : Molly Bracken Shoes : Melissa

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Photography Stefano Padovani assisted by Mattia Guarnieri Model Julia @nologo Make-up/Hair & Concept Elena Gentile Shot @KRUDE STUDIO, Milan

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Leather doctor bag, 1970s.

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Photography Stefano Padovani assisted by Mattia Guarnieri Stylist Andrea Tisci Model Victor @Joy Models Make-up/Grooming Samuela Nova Shot @Garage New Motors, Milan Special thanks Antonio Montissori

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Jacket: OMAR Pants: LEON LOUIS Jewel : Venusia - Carla Sorrenti

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Sleevless jacket : BARBARA I GONGINI

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Cardigan : LEON LOUIS 140

Robe: BARBARA I GONGINI

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Dress : EVEN IF

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Dress: Roberta Biagi

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Kimono : FREI Jeans : pence

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Total look : BARBARA I GONGINI

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Overall : FREI

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Total look : BLACK BLESSED 147

Sleevless jacke : NEKROROMANCIE Ring : Godio & Tosco

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T-Shirt : LEON LOUIS

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)*+#)"#%$&,*'# Photography Stefano Padovani assisted by Mattia Guarnieri Stylist Andrea Tisci Model Sofia @nologo Make-up/Hair Samuela Nova

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Kimono : Kimo no-rain Pants : LEON LOUIS Necklace: Lisa C

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Jacket: FREI 152

Sweatshirt: DIEGO VENTURINO

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Jacket: Roberta Biagi Shirt: AVANT TOI Shoes: Joe Bo 154

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T-Shirt : Andrea Pompilio Trousers : UltraChic Shoes : Melissa P

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Jacket : LEON LOUIS Swimsuit : Khongboon Swimwear

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Trench : Tricot Chic Swimsuit : Roberta Biagi Shorts : LEON LOUIS

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Bodysuit : LEON LOUIS

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Shirt : Nordan by BARBARA I GONGINI Coat : BARBARA I GONGINI Beachwear : SCIâ&#x20AC;&#x2122;M 160

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|Vegink kitchen| !"#$%&%'(#)*+,(-

red rice salad

Chaves Lagarto, the vegan tattooed chef who became a model. Filipe Chaves, AKA Lagarto, born in Lorena, Brazil, in 1983 is a vegan chef specialized in vegetarian organic cuisine, aiming at using exclusively natural ingredients, which he always chooses personally and often grows himself. His motivation is derived from his understanding of the strict connection between food and the human body and of the importance of food in our life. In May 2007 Felipe gets his diploma as International Chef at Centro Universitàrio Senac in São Paulo, Brazil. He works as a chef at renowned restaurants such as Alex Atala and as a contributor to a number of blogs, besides collaborating to projects like Yah Cozinha Roots, Veganeasy – a vegan and vegetarian catering service – and Jasmine. Filipe is also an international top model, is often the protagonist of TV interviews and teaches cooking classes to students groups and foodies in Brazil. portrait by The fashink Group in collaboration with !"#!$%&'(#) 162

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|Vegink kitchen| RED RICE SALAD Ingredients (serves 4) 200 g red rice 50 g sunflower seed cream 2 courgettes 4 chopped tomatoes green mixed salad 100 g walnuts olive oil salt pepper

Preparation: Cook the red rice in a litre boiling water containing about half a tbsp salt for 30 minutes. In the meanwhile, chop the courgettes and tomatoes and saute them in a little olive oil, salt, pepper and other spices of your liking. Drain the rice, stir in the sunflower seed cream and mix well. Dress the green salad with olive oil, salt and pepper and add the walnuts. The rice, the green salad and the sautĂŠed vegetables can be served separately, as in the picture, or mixed together.

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DIET HEALTH GUIDE by Davide Gariboldi

Davide Gariboldi is a Personal Trainer who is very much in demand at the moment; his clients are individuals who aim at achieving perfect physical fitness and very competitive sport performances. Many of them are in fact sport professionals, who trust in his expertise. Davide is also an outstanding operator when it comes to post-trauma rehabilitation. He never misses an edition of Mister Olimpia in Las Vegas and of Arnold Classic; he is in excellent terms with many athletes and with some of the top-level trainers in the body-building world. Just to name a few, Davide is both a close collaborator and a good friend of Chad Nichols (Ronnie Colemanâ&#x20AC;&#x2122;s long-lasting trainer) and Dave Palombo. He is currently busy keeping fit and following his clients full-time.

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DIET #10 In this issue we will talk about hyperemia, a nutritional system to be adopted while working out created by Miloš Šarčev, AKA ‘Muscle Mind’, a Serbian body-builder born into a family of doctors and with a thorough knowledge of the human body. While only 35% of blood circulates in muscles when they are at rest, this percentage reaches 95% during hard exercise. With this awareness, an athlete can enrich his blood before training with carbs, amino-acids, creatine and other substances such as propionylL-carnitine and branched-chain amino-acids. This is achieved by consuming large amounts of simple sugars, such as high-molecular weight complexes like Carbolin and cyclodextrines, 30 minutes before starting to workout. These products contain slow-release glucose molecules, which can enter the blood very quickly, stimulating insulin and opening its receptors: insulin is an anabolic hormone that allows our cells to absorb all nutrients contained in food. During this 30 minutes period it’s crucial not to consume any kind of fat to avoid them entering our system. If blood is enriched with carbs, amino-acids and accelerators of the formation of creatine, when it reaches muscles it will feed them massively and therefore it will help them grow during workout. This is a very innovative system, and the biggest advantage is that the body doesn’t put on weight, given that all it does is look for energy and that it will find it in the sugars we’ve just put in the blood. This procedure works best with products that are already on the market, so I can recommend GPLC, vitamin C, glutamine by Swiss, Dr Jekyll (Pro Sups), Carbolin (EFX), Intra Workout (MIA) - the real intra workout created by Gian Enrico Pica and Dennis James and in my opinion the best product on the worldwide market today - , creatine and branched-chain amino-acids. This product should be taken 30 minutes before starting to train, but also immediately before and immediately after it; I also recommend taking some hydrolysed proteins at the end of the session. All these products can be found in the V-Power catalogue. The intensity of the exercises performed with enriched blood is estimated to be three times higher than normal. For a custom dietary programmes please contact: dave@davidegariboldi.net

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by Danila Cattani

Danila Cattani starts going to the gym at sixteen years of age, in order to train to become an international bodybuilding champion in the bikini category. In 2016 she get her degree at the faculty of sport and health sciences and becomes a personal trainer much in demand all over the country. In the same year she enters her first competitions and gets her first title the next year. In 2018 she starts her collaboration with fashink as a fitness advisor, hoping to help our readers keep healthy and in shape.

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1. Extended leg take-off (thigh and gluteus) With a dumbbell in each hand, palms facing thighs, stand erect with feet hip-width apart and arms slightly Extended leg take-off: from a standing position and holding a dumbbell in each hand , bend your torso onwards, maintaining the lumbar areaâ&#x20AC;&#x2DC;s natural curve and without raising your shoulders. Lower the dumbbells to your knees and return to the starting position while contracting your buttocks. Do four series of eight reps.

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2. Abdomen tilt (abs) Abdomen tilt: in supine position, with your back flat on the mat, bend your legs to form a 90Â° angle with the torso. Contract your pelvis to slightly raise your hips. Four series of fifteen reps.

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3. Side lifts (shoulders) Side lifts: from a standing position, with your legs shoulder-width apart, take a dumbbell in each hand with your arms by your sides and your elbows slightly bent. Raise your arms up to your shouldersâ&#x20AC;&#x2122; height and put them down again. Four series of eight reps.

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4. French press with dumbbells (triceps) French press with dumbbells: from a standing position, with your legs shoulder-width apart, take a dumbbell in each hand and raise your arms over your head. From this position bend your elbows simultaneously, bring the dumbbells behind your head and then extend your elbows bringing the weights upwards again. Four series of eight reps.

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Iâ&#x20AC;&#x2122;m Michelle Dorrell, i am tattooed mother from England. Ever since i was a very young girl I developed passion for cooking and tattoos. portrait by The fashink Group in collaboration with !"#!$%&'(#) 174

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!"# LEMON DRIZZLE CAKE Ingredients 175g (6oz) self raising flour 1 teaspoon baking powder 175g (6oz) good quality butter 175g (6oz) caster sugar 3 medium eggs 2 tablespoons milk Finely grated zest of 2 lemons Lemon Syrup Juice of 2 lemons, strained 115g (4oz) caster sugar Method for making 1. Start by preheating your oven to 180C, 160C fan oven or Gas mark 4. 2. Grease and line the base of a 2kg Loaf Tin. 3. Sift the flour and baking powder into a large mixing bowl. 4. Add the sugar, butter, eggs, milk & the zest of the 2 lemons. 5. Mix the batter until smooth then pour into the Loaf Tin 6. Place into the centre of the pre-heated oven for 60mins or until golden brown 7. Remove from oven, prick holes in the top of the cake & leave to cool. 8. Place the lemon juice & sugar in a saucepan over a medium heat until sugar is dissolved. 9. Once cooled drizzle the lemony syrup all over the cake and watch it soak in. Baking time 60 minutes 176

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by Talita Savorani

This 2017/18 winter issue of Fashink Magazine will help you to resist this harsh weather, at least burning your “tattoo” appetite inside or helping you to wear it, even if you’re freezing outside. Pretty sure your house setting and your lingerie drawer need to be fixed up; some news can help you to refresh them and make them cool for this season too. This issue is mainly focused on women and house furniture: ladies can spread their sexiness with some new lingerie created by TATU COUTURE which is definitely fond of the tattoo world, using sophisticated materials such as sheer, tulle, lace and silk. Hide your new lingerie under the beautiful Chiba dress by PATRICE CATANZARO, to feel sexy and hot during winter too and to add some awesomeness to your attitude. They could be perfect for a party in your friends’ lodge during the winter break or to hang out with your partner for a romantic

dinner and a sparkling - and transparent! evening. If your shelter needs a “refresh” too, follow the editorial until the end and discover how to add a bit of style to your place for this 2018. THIS IS A LIMITED EDITION always offers cool ideas to decorate your place, enjoy their latest tattoo collection armchair with amazing artworks used as prints - this time it concerns NANAMI COWDROY’s art - and discover blankets and pillows too. TATU COUTURE is a luxury lingerie brand that creates innovative works of art for the female form. It fuses high fashion aesthetics with haute couture tailoring techniques. The CARLA bustle back brief - for example - accentuates your “derriere” with a fabulous Ivory fabric. Flirtatious and seductively sexy, this retro brief creates an irresistible definition with its flattering lines and delicate lace front panel. It displays a ‘love bird & ribbon’ tattoo print which makes it an elegant wedding day

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choice. Beautiful ruffled lace on the back, plus a sexy zip opening. Another lovely item which deserves a look on this website is the CARINE bodysuit! Ultra sleek and stylish, it sculpts the figure and fits tight to the body with its clean and matt sculpting front panel and stretch woven satin round the neckline and arms. A seductive cleavage and a sexy gold zip running through the tattoo placement on the back; all these lingerie items are handmade with love from UK and available from size 6 to 14 UK. Since you’re not allowed to go out wearing your lingerie only - not yet at least! - remember to match that previous set with a lovely dress: the CHIBA one by PATRICE CATANZARO could be a great choice. That tattoo look never fails to impress: hot and sexy, you can get the party started in this trendy “Mexican skull tattoo design” mini dress, perfect for cocktails and cool nights out too. It’s elastic - so it fits smoothly onto your body - and it clearly shows how sexy your silhouette is. The design with the tattoo is flocked on the transparent mesh fabric; the decorative zipper in the back is perfect to enhance even more the use of this particular fabric. “Los dias de los muertos” are also one of the most common and widespread tattoo drawing, perfect to be the heart of this design underwear. Turtle neck, available in black and nude, handmade in France and extremely comfortable: you definitely need it in your wardrobe! THIS IS A LIMITED EDITION WEBSITE showcases every week new artists that are developing their projects and ideas all over the world; it gives them the chance to turn their drawing into... almost everything!

T-shirts, underwear, prints, postcards, stickers, furniture and all the stuffs you can think about... This issue we are displaying NANAMI COWDROY’s artworks, which turned themselves into a fabulous black and white armchair but also into printed pillows, blankets and sleeping masks. This armchair is a British-made piece of furniture with an up to date twist, thanks to the artist. It comes from a small limited edition of just 33 armchairs - each one is sequentially numbered with the Certificate of Authenticity printed on the bottom of the chair itself - and completely handmade, thanks to the finest components throughout, in addition to meeting all EU fire regulations. It displays a “Japanese” style tattoo pattern since the title of this artwork is “A curious embrace” and it showcases a giant octopus wrapping the entire chair and - of course - all the people resting or sleeping on it. Blankets and pillows come from a new collection of luxury edition designs too; they came to life thanks to a back and white pattern with carps and Japanese typical drawings. A total of 300 have been printed out so each one is delivered with a sequentially numbered Certificate of Authenticity, as previously said before for the armchair. The front side is printed on a super soft lambskin fleece, which is extremely soft, hardwearing, breathable and washable; back side is graphite grey faux fur. You can’t miss this “enveloping” and “embracing” piece of furniture for your place! Have a great upcoming year and turn your style upside-down for this 2018 winter, obviously using these ideas!

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Via Maestri Campionesi, 25 20135 Milan Italy e-Store: www.fcf.it mail: fcf@fcf.it 182

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NEXT ISSUE #11

The spring

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