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TAKE CARE OF YOUR BEATING HEART, WARMED BY A POUR OF UNCONDITIONAL LOVE. Images Courtesy of Mattia Balsamini
Images Courtesy of Mattia Balsamini
YOU’LL RECALL THESE MOMENTS. SO, TAKE A PICTURE WITH YOUR EYES TO REMEMBER YOUR SOUL, SMILING LIKE NEVER BEFORE. Once, I felt lost. I consciously wanted to take a risk.
Seated next to me, there was a different kind of life:
I just decided to let everything go and follow my
much wilder and more free, less connected with our
breath.
everyday reality, much more aligned with something
That’s the time when I started breathing as an adult.
else. Freedom, sense of community and a choice.
A beautiful hot summer was about to end, leading
They say we’re closer now that we’ve been deta-
me to understand what breathing is about.
ched, they say we do care more about others now
It could be scary to get consciously lost, just like bre-
that all of us are in danger. They say we’ll be better
athing is. We don’t pay so much attention to it and,
after. I do think we’re just at the beginning of a pretty
as soon as we do so, we immediately change the al-
long journey. That night was a long trip too. Sud-
ternative pace of inhale and exhale. Someone could
denly, I was on a beach with an endless horizon and
turn it into a faster cadence, someone into a deeper
a few tiny lights of fishermen boats. The dark sea
and slower one. Today, I can definitely say that night
was melting with the black sky, while the sound of
I went for the second one.
the waves was rising and rising. That sound was my first lesson on breathing.
A car ride to nowhere in the dark. Music was playing
Images Courtesy of Mattia Balsamini
out loud from an old radio and a lot of dusty sand
We could be waves.
was floating from one window to another. Looking
We can hit the ground so hard, we can roll on it and
outside, I realised I was lost and it was fine.
reduce everything in foam, but somehow, if we brea-
the enough, we can stand back in a beautiful glassy
realise how many times we speed up our life with
wave, ready to be rode. If you’re patient enough to
no reason, and how much time we spend on being
pay attention, you’ll notice how relaxing it could be.
stubborn on things we probably don’t really even
That feeling of vastness and potential moved me
need. We end up loosing a lot of time. I indulged
inside.
myself into that thought in silence, breathing the ocean breeze through the empty streets. Suddenly,
The humid sand was comfy, soft and totally new,
the different life gave me a piece of bread. The sto-
although I partially grew up by the sea. A newfound
res were still closed and the road was full of leftover
warm cuddle between the fingers, so familiar yet
bread bags. They were left there for free. I realised
different. I breathed and found a way to keep that
that I’d probably never take anything from there, I’d
feeling with me. I promised myself. Since I con-
probably think it isn’t for me, I’d somehow think it’s
fessed I didn’t know were I was, I had the task to
the wrong thing to do. Then, I just bit it and kept on
remember where we left the sandals, so that I could
walking. That was my third lesson on breathing.
have a sign. I’d easily find them back hours later, despite my usual lack of sense of direction. That was
We could be breath.
my second lesson on breathing.
We should take some time to truly listen to ourselves in order to find the right pace for our life. We
We could be signs.
should be loyal to ourselves. We should be brave
We should keep a sign to find back whatever we
enough to breathe and understand what we stand
don’t want to loose, or forget, and use it as a long
for. We should breathe more, in order to find the
soothing breath in. Then, we should be brave enou-
way, our way. We should find the way and follow
gh to let it go and find it again in another breath of
it, no matter what. We should look around us and
fresh air: somewhere else, somewhere new, so-
realise we are not the only one down here.
mewhere old. Once I read that breathing is the most natural thing
Images Courtesy of Mattia Balsamini
The sun was slowly rising, while the different life
ever for a human being.
and I were walking away. That long walk made me
I’ve always been skeptical by this obviousness.
Essay by
Simona Dell’Unto
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EDITOR IN CHIEF
FASHION COORDINATOR
CONTRIBUTING ST YLISTS
AND FASHION DIRECTOR
Simona Dell’ Unto
Caitlin Moriarty - Chiara Ficola - Javier De Pardo
Matteo Greco
sdellunto@thegreatestmagazine.com
Kim Yuan - Koen T. Hendriks - María Molina
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ISSUE 18 — FALL/WINTER 2020/21 THE BREATH ISSUE
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Matthieu Delbreuve - Mattia Balsamini Gaëlle Bon
Mattias Björklund - Nicoló Parsenziani
CONTACT
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Cover 01 - Photographer Edu García / Fashion Editor María Molina / Model Jorge López / Total Look Dior Men
Valentin Hennequin - Yannick Schuette Simone Rutigliano srutigliano@thegreatestmagazine.com
Distributed in Italy by Messinter S.p.A. - Worldwide Distribution MMS Ltd ISSN 2280 1308 // The Greatest is published by Matteo Greco, Via Antonio Stoppani 34 Milano 20129 - Registrazione al Tribunale di Milano n° 158 del 23 Marzo 2012 All rights reserved. Reproduction of editorial content without prior consent is prohibited. The views expressed in this magazine are those of the contributors and are not necessarily shared by the editors or publisher. The magazine accepts no liability for loss or damage of manuscripts, artwork, photographic prints and transparencies. Printed by Stampa Sud Spa Mottola (TA)
Cover 02 - Photographer Fang Xiaohuan / Fashion Editor Kim Yuan / Model Mikita Krivelev at Freshlook Model Management Total Look Alexander McQueen Cover 03 - Photographer Javier Castán / Fashion Editor Javier De Pardo / Model Fernando Albaladejo at Hakim Model Management / Total Look Lanvin
Cover 04 - Photographer Sam Wilson / Fashion Editor Matteo Greco / Models Marvin Kivisalu at SAGE Management and Elhadji Mar at NoLogo MGMT / Total Look Valentino Cover 05 - Photographer Mattias Björklund / Fashion Editor Martin Persson / Model Jeremiah Berko Fordjour at SUPA Model Management / Total Look Saint Laurent By Anthony Vaccarello
PHOTOGRAPHER
Emil Pabon FASHIONEDITOR
Koen T. Hendriks
MODEL Jeranimo van Russel - Riches Mgmt
GROOMING Bastien Zorzetto - House Of Orange
Sweater and Trousers BOT TEGA VENETA - Necklace ELHANATI
Total Look LANVIN Opposite Page Top BERLUTI - Trousers BOT TEGA VENETA - Hat LANVIN
Coat CELINE - Trousers and Belt UNIFORME Opposite Page Sweater FENDI
Jacket and Top GIVENCHY - Trousers FENDI - Necklace ELHANATI Opposite Page Coat CELINE - Trousers and Belt UNIFORME
Total Look ALEXANDER McQUEEN Opposite Page Total Look LANVIN
Total Look BOT TEGA VENETA Opposite Page Total Look FENDI
Shirt, Trousers and Belt UNIFORME - Shoes GIVENCHY Opposite Page Total Look LANVIN
Shirt CELINE Opposite Page Total Look DIOR MEN Photographer Assistant Daniel Mulder
PHOTOGRAPHER
Sam Wilson FASHIONEDITOR
Matteo Greco
MODELS
ARTDIRECTION
Marvin Kivisalu - SAGE Management Elhadji Mar - NoLogo MGMT
Sara Ferraris
GROOMING Alice Faye - Closeupmilano using Deciem
Elhadji and Mar vin wear Total Look GIVENCHY
CASTING Isadora Banaudi
Elhadji wears Coat and Jeans GUCCI - Necklace LOUIS VUIT TON Opposite Page Mar vin wears Total Look BOT TEGA VENETA
Elhadji wears Total Look ACNE STUDIOS - Boots GIVENCHY Opposite Page Elhadji and Mar vin wear Total Look PRADA
Elhadji and Mar vin wear Total Look VALENTINO Opposite Page Elhadji wears Total Look JIL SANDER - Boots GIVENCHY
Mar vin wears Jumper and Shirt MSGM Opposite Page Elhadji wears Coat LOEWE / Mar vin wears Total Look JIL SANDER - Boots GIVENCHY
Elhadji wears Jumper DIOR MEN - Trousers KENZO - Hat LOUIS VUIT TON / Mar vin wears Total Look ALEXANDER McQUEEN
Elhadji wears Total Look MARNI - Hat DIOR MEN Opposite Page Mar vin wears Trench Coat KENZO - Boots JIL SANDER Photographer Assistant Declan Slattery - Stylist Assistant Maggie Chao - Hand Prints Chris Cooke at Rapideye Special Thanks to Elisabetta Moneta - Location Comune di Pieve Emanuele
Mark Shearwood
Caitlin Moriarty FASHIONEDITOR
MODELS
CASTING
Jethro Sapon - SUPA Model Management Montell Martin - Select Model Management
Isadora Banaudi
GROOMING Nadia Altinbas using Kevin Murphy, Wahl and Sisley Skincare
Montell wears Shirt and Trousers BALENCIAGA - Shoes JIL SANDER Opposite Page Montell wears Sweater FENDI - Balaclava THE CONTEMPORARY WARDROBE / Jethro wears Sweater SALVATORE FERRAGAMO
PHOTOGRAPHER
Montell wears Coat, Trousers and Shoes COMME DES GARÇONS HOMME PLUS - Hat JAWARA - Socks PANTHERELLA Opposite Page Jethro wears Shirt COMME DES GARÇONS SHIRT - Trousers CECILE TULKENS
Jethro wears Shirt COMME DES GARÇONS SHIRT Opposite Page Jethro wears Total Look GIVENCHY
Jethro wears Sweater and Shirt MARNI - Trousers DANSHAN - Boots CAMPER - Hat CENCI VINTAGE - Socks PRADA Opposite Page Jethro wears Balaclava THE CONTEMPORARY WARDROBE
Jethro wears Sweater and Trousers LOEWE - Shoes PRADA - Hat CRAIG GREEN - Socks PANTHERELLA Opposite Page Jethro wears Jumpsuit CHALAYAN
Jethro wears Trousers and Shoes JIL SANDER - Scarf MAISON MARGIELA - Hat THE CONTEMPORARY WARDROBE
Montell wears Trousers COMME DES GARÇONS SHIRT - Sweater GUCCI - Hat JAWARA Opposite Page Montell wears Coat, Trousers and Shoes COMME DES GARÇONS HOMME PLUS - Hat JAWARA - Socks PANTHERELLA Photographer Assistant Sam Dearden - Stylist Assistant Sara Perilli - Studio Tea Room Studio - Post Production Jeanne Buchi
PHOTOGRAPHER
Yannick Schuette FASHIONEDITOR
Simon Winkelmuller MODEL Lukas Ziegele - VIVA Models Berlin
GROOMING Sabine Reiter
Total Look MARNI
Total Look LOEWE
Up GRANIT wears Jacket GIVENCHY / ANTON wears Jacket BERLUTI Down LUCAS wears Jacket 1017 ALYX 9SM - Vest CALVIN KLEIN JEANS - Jeans ROBERTO CAVALLI / YOTAM wears Jacket YOHJI YAMAMOTO - Jumper ROBERTO CAVALLI - Trousers 1017 ALYX 9SM Opposite Page YOTAM wears Total Look MAISON MARGIELA ARTISANAL MEN’S DESIGNED By JOHN GALLIANO
Coat MARNI Opposite Page Coat MARNI - Shirt GIVENCHY
Total Look VALENTINO
Coat SEAN SUEN - Shirt and Shoes GIVENCHY - Trousers SAINT LAURENT By ANTHONY VACCARELLO
Shirt GUCCI Opposite Page Coat SEAN SUEN - Sweater CARLOTA BARRERA
Coat MSGM Opposite Page Top ANN DEMEULEMEESTER - Trousers ACNE STUDIOS - Belt and Shoes GIVENCHY
Jacket PALOMO SPAIN Opposite Page Coat PRONOUNCE
PHOTOGRAPHER
Mattias Bjรถrklund
FASHIONEDITOR Martin Persson
ART DIRECTOR Sara Ferraris
MODEL
Jeremiah Berko Fordjour SUPA Model Management
GROOMING
Kristina Kullenberg LUNDLUND
CASTING
Isadora Banaudi
All Clothes Are By SAINT LAURENT By ANTHONY VACCARELLO FW 2020/21 Collection
PHOTOGRAPHER
Hördur Ingason FASHIONEDITOR
MODELS
PRODUCTION
Raphael Cousin, Alexander Lundblad, Alfred Lindström, Anton Angawa, Augustine Kajue, Axel Wahl, Elvis Wallinder, Filip Roséen, Leon Kollberg, Matti Hoffner and Povel Le Febvre - Nisch Management
Linda Jansson - Lomo Management
HAIR Joanna Rask - MIKAs LOOKs
Matti wears Jacket and Trousers CMMN SWDN - Turtleneck DRIES VAN NOTEN
Coat MAISON MARGIELA - Hat MARYLINE PERROD
Martin Persson
Alexander wears Total Look DRIES VAN NOTEN Opposite Page Filip wears Jacket, T-Shirt, Trousers and Scarf RAF SIMONS - Shoes ACNE STUDIOS
Coat and Shirt ANN DEMEULEMEESTER – Rings EMRE OSMANLAR, SYLVIE CORBELIN, VANESSA DE JAEGHER all at MAD LORDS
Raphael wears Total Look DRIES VAN NOTEN Opposite Page Axel wears Total Look COMME DES GARÇONS HOMME PLUS
Povel wears Jacket and Shirt GUCCI Opposite Page Alfred wears Total Look MARNI
Elvis wears Total Look PRADA Opposite Page Augustine wears Jacket and Trousers CMMN SWDN - Shoes DRIES VAN NOTEN - Jewellery MODEL’ S OWN
Anton wears Jacket, Trousers and Harness ACNE STUDIOS - Hat DRIES VAN NOTEN Opposite Page Leon wears Coat and Trousers CMMN SWDN - Sweater RAF SIMONS - Shoes MARNI Photographer Assistant Richard Ortega - Hairstylist Assistant Vanessa Ceder
Jorge Lopez INTERVIEW
PHOTOGRAPHY
FASHIONEDITOR
Marco Martello
Edu García
María Molina
‘Acting is like a roller coaster you want to ride, but are scared to. You ride it and feel happy, then you throw up and, eventually, fall in love with the view from the top, all while being anxious from the height. Just as you’re about to enjoy it, the ride ends, leaving you with a feeling of happiness and, of course, a strong desire for another ride’. That’s Chilean actor, dancer and singer Jorge López’s view on what acting is about. You may know Jorge from his appearance in Netflix’s original series ‘Elite’, where he plays the role of Valerio, but his acting career actually started in 2011, when he landed his first role on the big screen. Over the years, Jorge López has worked hard to build a 360 degree career and explore all forms of artistic expression, becoming the young man we love today. Let’s now get to know him up close and personal in this exclusive interview! Jacket, Tank Top and Trousers MARNI - Shoes VALENTINO
I don’ t feel the pressure or responsibility of being a role model to anyone. That being said, I’m still learning to manage my life and career. What I feel most accountable for is my work . That ’s my gift for my followers, displaying commitment and love for what I do. I’d like to start off by asking you about your childhood,
I read your parents didn’t approve of your decision to
as I believe childhood experiences can shape adult life.
pursue an acting career. Can you take us through all the
What were you like as a child? Did you have a role model,
obstacles you faced early on in your journey?
someone who’d inspire and influence your choices by teaching you how to see life’s true beauty? By the way, would you say you’re still a child at heart?
As a child, I was always very aware, to the point that grown ups couldn’t talk in front of me, because I’d catch everything and then repeat it at some unexpected moment. Needless to say, I screwed up more than once. I used to live to the extreme: I’d always go back home with broken bones, injuries or dirty clothes. The truth is that I didn’t have anyone to inspire me, but I was empowered by all my neighborhood friends. I do think I’m still a child at heart, that’s not been affected by age or the passing of time. It’s like as if my soul was young and old at the same time (Laughs, E.D.).
This probably is the stage of my life where I learned the most. The fact that my parents were against my dream, even if they had only good intentions and wanted the best for me, made me have a reality check and make the decision to be independent, following my instincts. I risked a lot, as I left my house and hometown for Santiago, the capital of Chile, at the age of seventeen. I never thought about what could’ve gone wrong, because I had a strong desire to work and live the life I wanted. Obviously there was a thousand obstacles, but I always tried to deal with them head-on, not ever stopping or dwelling on them. Even now, but especially at that age, I believe that life is like a game: you have to keep on moving, with the greatest focus possible. That’s something you can do once you stop complaining.
You studied acting, in Santiago, at Universidad de Artes, Ciencias y Comunicación. Can you tell us the most per-
Speaking of Chile, you grew up near Santiago, but you
spective-changing experience you had back then?
now live in Madrid. Why did you decide to move to Europe, leaving friends and family behind? How does
My time at university was short yet interesting, since I attended Universidad de Artes, Ciencias y Comunicación for only two weeks. I was on a talent scholarship, and I didn’t want to miss the opportunity to get an education, but I got a counter offer I couldn’t say ‘no’ to. It was extremely difficult for me to leave, because I thought not having the tools and discipline university gives you would’ve affected me at some point in my career. However, I chose to take the job and, since then, I haven’t stopped working. Jorge, what’s your fascination with performing about?
The truth is that, of all the artistic fields I’m lucky to be involved with, acting occupies most of my time, playing a fundamental role. It challenges me to constantly reinvent myself, that’s what draws me to acting. Moreover, each and every project allows me to learn something new, giving me the chance to know different countries, people, cultures and, of course, work environments. It’s a 360 degree experience! I see myself as a sponge, absorbing and learning from anything and everything. At the moment, I’m very happy, but I don’t exclude the possibility of moving on to some other form of artistic expression, and having multiple careers. Human beings are blessed with a variety of skills, we just have to take the initiative, using them.
your homeland differ from Spain? Have you ever thought about moving back to Santiago de Chile and making a new life path there?
I moved to Spain for work, just as I did four years before when I left my homeland for Argentina. It’s been six years since I moved abroad. By the way, even if Chile and Argentina are neighboring countries, they’re different as night and day. I consider Argentina my second home, it welcomed me and I was very happy there. Then, I arrived in Madrid, where I currently live. I’ve only been here for a year and a half now and, although I have to travel quite a bit for work, I want to have a home base here. That being said, Chile and Spain differ greatly. In fact, even though they have similar political models, their structures are totally different. Right now, Chile is going through a very important social crisis, as people aren’t satisfied with their leaders and the country’s economic model. If I had to make a comparison, I’d say that Spain has greater harmony, as a result of people being a little happier with their government and the way their leaders exercise power. Chile is a beautiful country and I look with impotence at everything that’s going on there. I do go back and visit as often as I can, and I don’t rule out returning for good some day, but not in the near future. Right now, I’m very happy with my life as it is.
Total Look MANS CONCEPT - Shoes AMI
Tank Top and Trousers MARNI Opposite Page Top and Jacket N° 21 - Trousers SANDRO PARIS
Total Look DIOR MEN
I’ ve been trained by diff erent teachers, each one contributing to my education with as many tools and methods that ’ ve helped me to perfect my craft. As a result of that, my vision has totally changed over the years. I’ ve come to understand that acting is a very personal journey, in which your life experiences are vital to succeed. Sweater and Shirt AMI - Trousers NEIL BARRET T - Shoes EMPORIO ARMANI
did you learn from this experience? What’s the part you In 2014, you were chosen to dance, at the opening class
particularly enjoyed or struggled with?
of the Toronto’s Hard Candy gym, together with the queen of pop and 14 other dancers. What did you think when you found out that you were going to fly all the way to Canada to perform alongside Madonna? If I’m not mistaken, it actually turned out to be your last performance as a dancer, and the memory of those days must hold a special place in your heart…
It was the first time I had left Chile! I was really excited about traveling, seeing Canada and, of course, dancing with Madonna, who could’ve been the sister of my childhood idol, Michael Jackson. Unfortunately I didn’t get to dance with him, but I did with her, which was like a dream come true. To be honest with you, I wasn’t expecting it. In fact, I went to the audition, with a couple of friends, just to have a good time. We weren’t members of the gym and signed up on that day. There were people who had been preparing for months, so we thought it was impossible for us to win the contest. I ended up winning, so you can imagine my friend’s reaction: they couldn’t stop laughing, because it was totally unexpected. Then, of course, it dawned on me that I was going to dance with Madonna! Jorge, has being from Chile influenced your acting, danc-
In many different ways, Soy Luna is the fiercest experience I’ve ever lived. It was four years of great schooling: we shot three seasons and went on as many world tours, with live shows! It was extremely fulfilling and exhausting at the same time. In fact, the filming process was very intense, as we had to record songs, rehearse choreographies, shoot ‘normal’ scenes, musical and skating ones…so we had full days for three years, really! In the fourth and last year, we toured Latin America and Europe, singing, dancing and skating live. I loved it! I had the chance to travel to all the major cities in those continents, meeting all kinds of people, who sang our songs even if Spanish was not their first language. It was very rewarding and enriching, because I got to visit places I could never have imagined, performing and giving all I had, while receiving a lot of love. Which recharged and helped me continue learning and growing. I think what I enjoyed the most is touring: you get to have contact with millions of people and that, whether you want it or not, has a very strong and unforgettable impact on you. As to the most difficult part, I remember there were days where I was very tired and missed home, my town and friends. Over time I’ve learned to handle it better, but at the time it was very challenging for me.
ing and singing career? Let’s now get to know you better through French writer
To be honest with you, at first it was very difficult. In Chile, there’s very little space for those who want to work in different fields: you can either be an actor, a singer, a dancer or a model, but you can’t be all at once. The industry there is quite structured or, at least, it was so until I moved abroad and started building a 360 degree career. Anyway, I think it has more to do with a personal way of being, than with your country of origin: your hunger, motivation and aspirations are what makes the difference. In that sense, coming from one place or another isn’t decisive. Of course it shapes you and your sociocultural context, but you can work on that.
and philosopher Jean-Paul Sartre’s words. He thought acting was a ‘happy agony’. Can you relate to his vision? Do you put any of yourself in the characters you play? Can you share with us how you feel when stage lights go dark?
Yes, absolutely. Acting is like a roller coaster you want to ride, but are scared to. You ride it and feel happy, then you throw up and, eventually, fall in love with the view from the top, all while being anxious from the height. Just as you’re about to enjoy it, the ride ends, leaving you with a feeling of happiness and, of course, a strong desire for another ride.
Moving on to the small screen, you played the role of Ramiro in the ‘Soy Luna’ TV show, being the first Chil-
Going back to your work, in 2019 you joined the cast of
ean actor to star in a Disney Channel production. What
the Netflix original TV series ‘Elite’. Do you have any-
Trousers ERMENEGILDO ZEGNA Opposite Page Sweater PRADA - Trousers GIVENCHY
thing in common with Valerio, the character you play in the show? By the way, how do you prepare for this role?
person and, therefore, being a much more ‘connected’ actor.
When you’re on set, do you strictly follow the script or let yourself be carried away by the moment?
Despite your great success, is there still a dream you’d like to accomplish?
It’s a character with a spontaneous visceral soul, characteristics we share. Finding the similarities between the character and I helps me start building the character itself. Then, it’s a lot of hard work, both mentally and physically. Anyhow, my approach really depends on the situation and, more specifically, the scene, script and kind of character I’m playing.
I feel I’m on the right track, but I have to keep on working, so that my professional success continues, as well as my personal and spiritual one. They contribute to the different aspects of your life, and they’re all priorities. Professionally speaking, I’d love to act in other languages. I haven’t done that yet and I really want to!
Jorge, you also played in a few musicals, such as ‘Chi-
Over the last few years, you’ve been working full-time.
cago’ and ‘The Wizard of Oz’. Are the emotions you feel
Do you ever feel the need to stop, take a deep breath and
when you’re on a theater stage any different from the
shut yourself off from the outside world? As I heard you
ones you experience while filming a TV series? Does the
like to write songs in your free time, I’d like to know if
presence of a proper audience help you reach a peak
that’s something that helps you to relieve stress and take
emotional state and express your emotions to the fullest?
your mind off everyday problems…
Well, it’s totally different. On stage, emotions are ever-changing, so every single moment is unique and unrepeatable. What a stage gives me is adrenaline, vertigo, butterflies in my stomach. When curtains open and you start telling a story, it’s impossible to stop! You have to get to the end no matter what happens, and that feeling of non-control and surrender is incredible, accompanied by all the energy the crowd gives you. On the other hand, what I treasure most while filming a TV series is the immortality of those moments. A film or TV series will be there for future generations, even for me to look back on when I’m older. It’ll be very moving to watch them and remember those moments again.
Up until the COVID-19 emergency started, I was a little tired and with a very intense schedule, but I never meant to take a break. The truth is that I like the rhythms of my job. After so many years, I’m used to such a fast work pace and, as I enjoy my job and have a good time on set, I just carry on without resting. I do try to have moments of escape though, going on a trip or just having a day off. As to the second part of your question, yes, I really like to let the pencil flow. In fact, until recently I wrote poetry. What I enjoy the most is creating a parallel ‘bubble’ and entering it. I’d say it makes me happy and, most importantly, helps me clear my mind. Due to the current global emergency, we’re all forced to stay home, slow down the pace of our life, reconsider our
Let’s now talk about social media. With a following of 10
priorities and, of course, the value of time. Is music help-
million on Instagram, you’re a role model to many boys
ing you to get through such unclear, strange and destabi-
and girls from all over the world. What’s your relation-
lising times, keeping your morale high and your creativity
ship with your fans and followers? Do you feel a sense of
flowing? Are you taking the opportunity of this lockdown
responsibility towards them?
to reconnect with yourself, establishing a dialogue with
Well, the truth is that, while it’s inevitable to feel exposed at times, I don’t feel the pressure or responsibility of being a role model to anyone. That being said, I’m still learning to manage my life and career. What I feel most accountable for is my work. That’s my gift for my followers, displaying commitment and love for what I do.
your inner child?
Yes, one hundred percent. I grew up with music, it’s been a part of me since I was a little boy. Of course now I can listen to it a little bit more, but I’ve always needed music as a catalyst in my life. Oddly enough, quarantine has gifted all of us with time to rest, recalibrate and just dedicate ourselves to personal growth.
For The Greatest #17 - The Power Issue, we interviewed Neapolitan actor Alessio Lapice, who told us: ’More than
To end on a personal note, who or what is the first of your
anything else, I think what makes an actor good is being
morning thoughts dedicated to?
able to love. An actor has to love their characters and the stories they interpret, they have to give all their love. The same applies to ‘bad’ characters, as you just have to love them’. Has love been the key to becoming a good actor for you as well?
I totally agree. For me, love is the key to becoming a better
To be honest with you, the very first one is: ‘I don’t want to get up and make myself breakfast’ (Laughs, E.D.).
I was chuff ed about sharing the stage with Madonna, an incredible artist and strong human being. That being said, it was one of my last performances as a dancer, because after that experience I decided to focus on acting. I felt like I had reached a learning threshold with dancing, and I wanted to continue growing and learning as an actor. By the way, I danced from the age of six to twenty-one and believe dance is a very demanding activity. The decision of giving up on dancing has never weighed me down, because dance continues being present in my life. Shirt CELINE - Trousers ERMENEGILDO ZEGNA - Shoes AMI - Socks PRADA
Art Director Anna Otero - Set Designer Lucia Suazo - Grooming Manu Fernandez at COOL using Nars and Kiehls - Casting Director Isadora Banaudi - Production X Artist Management Photographer Assistant David Moreno - Stylist Assistants Blanca Hidalgo and Fernando Del Puerto - Special Thanks to Q17 Estudios and Elite
Total Look TOD’ S Opposite Page Total Look LOEWE
Samuel Ross INTERVIEW
PHOTOGRAPHY
Simona Dell’Unto
Felix TW
Human beings have the power to think, choose and make. We’re lucky to have the possibility to express our opinions, as well as our values, and put together something that’s going to mark a time. As humans, we’re individuals who collectively make up a community. Having a connection and dialogue is the only way to install a bridge between people. Understanding needs and knowing how to enhance your work are the keys that led us to evolve and create new energy. Challenges and solutions go along nowadays. These are uncertain times, and we have to be brave enough to stand for something and believe in that. Magic exists when it’s possible to convey all these thoughts into a vision. Moreover, being concrete is an advantage allowing you a voice in the system. This is what Samuel Ross, founder and creative director of A-COLD-WALL*, makes me think of.
One can be creative and one can have talent, the point is how they collaborate throughout the creative process. It ’s more like taking creativity and putting it through the engineering process. Your work is, for sure, the story of yourself, so I’d like to go a little bit back in time. How would you describe yourself as a kid?
I was born in Brixton, South West London. When I was a child, my family and I moved to Northamptonshire, which is in the Midlands, such a different place, with a different slang and culture. Somehow, I had two different perspectives of England. Growing up, I was encouraged to explore the art world, both my parents are intellectual and, definitely, into art and culture. I was always creating and making things. In fact, as my father is a fine artist, I have early memories of working with traditional stain glass and painting. So I was always surrounded by this artistic environment, and we used to spend a lot of time in his workshop, which is attached to my family house. We knew that one day I’d move forward and become a maker. I used to sell paintings to my childhood friends, when I was eight or nine years old, then moved into selling luxury apparel at the age of 16 years old. Somehow, there’s always been this understanding of creativity and commerciality in me. I’ve always considered the graphic language as quite a complicated thing. It’s a powerful tool to communicate with people and the idea that the aesthetics of a logo and the colours you choose to use can change everything has always fascinated me a lot. Why did you decide to pursue a career in Graphic Design?
It’s interesting, because at the age of 16 I was totally into the idea of being an artist and illustrator. The reason why I chose Graphic Design was more of a social-economic one. At that time, I wasn’t sure if there was enough financial stability to ensure my career as an artist. Alongside that, I started experimenting with the Adobe Suite, my work became a lot more analog and digital. It was actually a tutor who suggested my move into Graphic Design, given my skills. I was interested in the dynamics of Graphic Design, they really stimulated my mind: Graphic Design seemed to be a new frontier at that point.
I refer to for visual art and the world of design. There’s so much involved, regarding proportion, colour theory and typographic nuances. Looking at elements of colour theory, type, language, pace and tone, you realise how much they collide together, help to convey a message and, potentially, drive you to use experience. It’s so deeply related to my practice still. Your Autumn-Winter 2020/21 collection is a journey from boyhood to manhood. I found it to be a heartwarming process. Creative directors are people with creative ideas, and ideas come from what we face in life and how we digest those events. During the creative process of that collection, did you face something ‘particular’ and different from what you faced in the past?
The idea behind that collection represents a choice. I had two options. The first one was to stay with the already existent half decade of A-COLD-WALL*, which has done really well commercially. It’s a voice in the streetwear culture and it’s known for being quite intellectual. The second option was to follow the experience and hold that up to the fashion and design community. It was option two that seemed to be the right thing to do from a moral perspective: I thought it was the right choice in order to continue having a face-to-face dialogue with people and the industry. As soon as I made the decision that we were going to compress A-COLD-WALL*, I realised that I had to look at my team, keeping in mind the indices and operations needed for my business to grow. It was self-reflective and enforced me to re-establish my value system in my long term proposal. It was less emotional and more systematic in a way, and it was a great change. I scraped the collection at least twice, my mind was so fixed on having a specific opinion about how A-COLD-WALL* exists within the world of luxury menswear and how to effectively communicate in the moment. Always regarding the Autumn-Winter 2020/21 collection, as you said before it was also a sort of study of your own inner values and a celebration of quality rather than quantity. During the Coronavirus spread, the industry
What’s the most memorable lesson you’ve learned
reconsidered quite a lot of things linked with these top-
from it?
ics. What do you think about the fashion industry’s open
Well, I’d say my whole practice, which hasn’t really changed over the years. I still spend a lot of time looking for a critical message and focusing on the typographical elements of A-COLD-WALL*. It’s a language that flows across every single creative medium. Graphic Design is the swipe key
we’re facing right now could be a great occasion for brands to reconsider their business model, core values and essential operations, understanding how they can still answer their audience’s needs. Of course, for a ‘younger’ brand, it’s way easier to fix and change its business plan. We need to respond to such a privilege with an agile offering to market, my response is to begin to simplify the creative and manufacturing process. Next season, we’ll start establishing subcategories. To be honest with you, we were considering that even before the Coronavirus epidemic. The solution is to focus on high quality materials, but from an operational point of view: the use of less fabrics of high quality can actually help you get a more competitive retail price, maintaining a high margin for the brand. It’s a new dynamic, which led us to use less products made of a higher quality. In terms of the brand’s behaviour and culture, we spent a lot of time reconsidering them. As a consequence of that, fashion shows have shifted. We’ll continue doing installations and exhibits, going ahead from what was shown, in January, at Service Point1 in London. We’re re-evaluating the capital in order to support the customer and brand. We’re not just talking of an increase in cash flow, it’s also a whole reset on how capital can be used to stimulate the consumer. Nowadays, I think young people are looking for a lifestyle
that ensures their beliefs, values and probably, above all, a feeling of belonging. To what extent can fashion still provide those needs?
Speaking of the younger generation in their twenties, we can’t talk about real subcultures anymore. Probably, it’s more of a concurrent culture. The culture I’m referring to is slightly more specific and introspective, but it still exists and is flourishing. It can be found in niche areas of the web, with panels of discussion regarding new potentials, techniques and fabrics. I don’t think it solves the issue related to the sense of isolation, because all of that is happening in digital spaces. There’s a question mark: ‘Does fashion, as a mechanism, still have the capacity to bring together individuals?’. I think that’s a coded system versus community kind of thing. It’s fine, as long as you still have this rhythm of new forms of communication and community, building on the boundaries of society. So people, values and human beings with their needs,
discussion around calendars and schedules?
both as individuals and parts of a community. Given your
I think it’s a great conversation, and I’m really into this specific topic right now. I think it’s a marvelous opportunity. I kind of compared it to the Dot Com Crash and what came off from that, such an amazing innovation. What
I practice a balance between activities and rest, in order to, at least, try and break out of my working routine. I’m able to almost relieve tensions and stress, as well as anxiety. For
own attitude, are you truly able to slow down and rest?
We’re living in such an uncertain time. I think it could and might be an occasion to reset our minds. Topics like sustainability should be the fuel of this new start. me, the idea of resting has to do with resistance training. I’ve meditated daily for about three to four months, but it was taking too much time and that’s quite a paradox. If you have the time, it’s a great practice, but for me rest is about being able to separate yourself from work, which is vitally important. Being able to remove that tension through physical activity feels like rest to me. That feeling of post-workout relief truly is like that. It’s probably more of a mental rest, though. Do you remember a specific moment when you felt totally free or, on the contrary, trapped?
I think you can’t forget the fortune and opportunity you’re given by fans and followers. They actually enable me to spend so much time articulating hot topics through fashion, industrial design and sculpture. I think that, in a sense, it gives you freedom: having the chance to establish a conversation means being free. If I backtrack myself to ten years ago, I remember working at every type of warehouse and phone shops (even at McDonald’s), and eventually landing entry-level industrial design and product design jobs. At this point, being able to speak for a generation does feel like freedom. On the other hand, the responsibility of delivering a message is quite high. It’s something that you shouldn’t take lightly, which I’ve done. It doesn’t necessarily feel like entrapment, but it’s a commitment. In fact, I feel freedom, along with a sense of loyalty and commitment to what I’ve dedicated myself to in the last 15 years of my life.
You have to conduct a lot of research. So, I’d like to know a little bit more about the Service Point 1 project. How was the idea born?
It was born from a garment perspective. How do we build a functional garment that’s recognisable and speaks to different individuals? How do we produce that garment supporting the ideas of sustainability and circularity, without loosing the meaning of luxury and how to articulate fabrics and pattern cutting. Those are the questions that opened up our Service Point 1 project. It was really about how we can integrate fashion, functionality, sustainability and experience into one garment. That’s why the idea of having a function-led garment produced with dead stocks of artisanal Italian fabrics came to mind. We really wanted to share this conversation and perspective with our media community. The jackets were awarded by intellectuals, artists, designers and architects, who were invited to explore the process of each garment. There were six different variations of the M-65 jacket, all following the same pattern, but each one had, of course, a different fabrication supply. It wasn’t just about a garment, it was about the ideology behind A-COLD-WALL*. Alongside each jacket, there was a 60-page book, which breaks down every element of materials, construction, pattern, function, packability and more. A jacket like the M-65 could be seen as an open source, that’s been, to a certain degree, exponentially used (free of license) by every single community globally. It was about finding a fashion icon and talking about it from a functional and social point of view.
You have a versatile profile and such a critical eye. Having an eye over the industry, looking at the selling, how
Still talking about research, do you have any titles that
people react, their needs and how to establish a dialogue
influenced your path as a creative?
with them is not a banal thing at all and is really into the zeitgeist. Being able to catch the moment is a talent, do you have in mind someone who is, or was, an example of that?
For sure one of my closest friends, Wilson Oryema. He’s a poet and author. Wilson also walked for us a few times and, whenever there’s the opportunity to speak in public regarding topics that affect society, we tend to take that opportunity. What’s quite interesting about Wilson is that he’s tuned into the now. He’s concerned about the ecological damages related to the fashion and design industry. By the way, he published a book on this, as well as a short documentary entitled ‘How Toxic Are My Clothes?’. He’s a key leader of the now, who’s completely dedicated to this conversation, and sincerely it’s a really difficult conversation to have (Laughs, E.D.). Wilson is an individual I’d propose as an influential key player right now.
Yes, of course. Cinema has always been a source of inspiration for me. ‘There Will Be Blood’ by Paul Thomas Anderson and ‘No Country for Old Men’ by Ethan and Joel Coen are just two on a long list of mine. If I had to speak about the contemporary scenario of the movie industry, I’d definitely underline the work of A24, that’s making a direct novelising and adding a new texture to filming. Regarding books, ‘Ways of Seeing’ by John Berger is, for sure, top on the list, because it really opened my eyes as a designer. It’d definitely be followed by Sean Hall’s ‘This Means This, This Means That: A User’s Guide to Semiotics’ and Yuval Noah Harari’s ‘21 Lessons for the 21st Century’. Personally, one of the books that I consider a milestone is ‘The Black West’ by William Loren Katz. Those are just a small part of my personal list. I’m very curious and into spreading an intellectual dialogue as one of the most powerful sources of change.
Alan Crocetti INTERVIEW
PHOTOGRAPHY
Marco Martello
Leonardo Bornati
It’s as if a future in the fashion industry was written in the stars for Alan Crocetti. In fact, from witnessing his family’s journey in the world of knitwear to creating and further developing his jewellery brand, Crocetti has worked hard to leave his mark on the fashion scene. Worn by the likes of Mahmood, Dua Lipa and Lady Gaga, his creations represent, without a doubt, the dawn of the new age of jewellery. In fact, Alan Crocetti’s jewellery pieces ‘convey a message that speaks to the importance of welcoming individuality in all of its complexity’, promoting the uniqueness of the wearer and ‘the intricate process of ever blooming’. Let’s now retrace his path, and learn what it means to be a jeweller in the 21st century!
Alan, I heard you consider yourself a dreamer. So, I’d like
original yet timeless?
to start off by asking you what your biggest dream and worst nightmare were as a child.
As a child, my biggest dream was to be able to do as many things as I could in life. On the contrary, my biggest nightmare was not being able to achieve a single one of those many goals.
In life and fashion, traditional beauty perpetuates oppression and stereotyping, which is incompatible with my way of approaching life and my work with jewellery. I don’t believe in creating boxes and suppressing individuals’ natural instincts and desires. So, in my opinion, future classics should disrupt ideas of sameness and celebrate individuality.
You grew up in Brazil, where your parents owned a knitwear factory. What’s your earliest memory of the
In the past centuries, men wore jewellery to show off
family business? Has the fashion-based environment
their own wealth, power and political influence. Then, all
you were raised in helped you develop an entrepreneurial
of a sudden, there was a shift away from this long-estab-
approach?
lished tradition. In fact, diamonds, gemstones and noble metals became strictly associated with the feminine
My parents’ knitwear factory was a small, informal family business that started and grew out of their need to support my brothers and I. Neither my mum nor dad had any formal knowledge of administration and entrepreneurship, so the day-to-day activities of the factory taught them how to buy quality materials, engage with potential sellers and manage their staff. As to creativity, there wasn’t much room for daring and innovative designs, but where they could, they had to rely on their instincts to play with colour and different kinds of materials, in order to make the best pieces they could make. That being said, witnessing my parents’ journey from a very young age instilled in me a sense of responsibility. They also taught me to strive for quality and to use my tools to express my creativity.
universe. Back to present day, even if people still have gender-based preconceptions, you define your pieces of jewellery as ‘genderless’. Do you wish to break down barriers through jewellery, encouraging a unconditional self-expression?
I always say that my intention with my brand and pieces isn’t to break gender norms. On the contrary, my goal is to convey a message that speaks to the importance of welcoming individuality in all of its complexity. That being said, my jewellery accentuates people’s uniqueness and can help them perform or disrupt gender norms, if they wish to. Let’s now speak of ‘Flowers from Exile’, your proposal for Spring-Summer 2020. What’s the inspiration behind
By the way, I read you see London, the city where you
the collection? Does it have to do with Brazil’s wild flo-
moved to study and that you call home now, as the best
ra? How much of your homeland can be found in the Alan
school you’ve ever been to. What’s the lesson, among
Crocetti jewellery?
those living there has given you, that you wish to share with us?
Despite the divide we see today, London exposes me to a myriad of people and cultures. It’s been a common ground for social and cultural interaction, as well as the celebration of identities and their unrestricted expression. This social and cultural exchange inspires me, and the honouring of individuality is what I aim to do with my designs. You were in your final year of studies in womenswear at Central Saint Martin’s when you fell in love with jewellery-making, decided to drop out of university and, eventually, launched your very own brand. Have you ever
Flowers from Exile aims to contemplate the multiple realities, interpretations and layers of human experience. I think unidimensional interpretations of who we are, isolate and alienate us from the intricate process of ever blooming. So, my jewellery challenges all pre-conceived systems that deprive individuals of being liberated. As for the second part of the question, my ‘ODYSSEY’ collection was heavily inspired by Brazilian modernists Oscar Niemeyer and Burle Marx. Niemeyer designed the area where I used to live in Belo Horizonte (more specifically, the Pampulha lake and the structures around it) prior to developing the capital, Brasilia. Somehow, his aesthetics and futuristic projections have always influenced my work.
wished you’d taken it slow, regretting that decision? A few years ago, artist, heiress and socialite, as well
Dropping out turned my life upside down, because I believed in my potential and creative vision as a womenswear designer. On the flip side, it sparked a fire in me to pursue my newfound passion by surrounding myself with people who could mentor and inspire me to reach my full potential in jewellery design.
as fashion’s most eccentric muse, Daphne Guinness designed, in collaboration with jeweller Shaun Leane, an 18-carat, diamond-encrusted armour glove, not only to symbolise her fascination with knights but also to express the will to conceal herself. Do you also think of jewellery as elements of an armour, or in other words means of protection from the surrounding world?
Let’s focus on the concept of ‘beauty’. To quote your words, you aim to create new classic pieces, combining minimalism with maximalism. Is the notion of ‘beauty’ still relevant nowadays? What makes a piece of jewellery
There’s nothing more empowering, to me, than a sense of self-love and self-awareness. In my experience, finding our armours helps us to stay in touch with those feelings.
That’s how I see jewellery, as it can ground such feelings in the material, in something we can see and touch. Jewellery pieces become true extensions of our bodies. Going off this, I think you’ll agree with me that jewellery can be therapeutic, affecting the wearer’s emotional state. It doesn’t just apply to gems and jewels, as even a worthless piece of jewellery can hold memories and so influence your sensations positively. Is there a piece you cling on to when you need to cheer yourself up? What makes it special to you?
I feel like all my pieces and collections relate to specific parts of my life and personality, so I appreciate and honour all of them and what they represent. If I had to choose a piece that embodies my design journey and cheers me up, I’d say the rose earring, as it marked a turning point in my personal and professional life. To me, the element of the rose doesn’t just represent strength or endurance, it’s a reminder of fragility and vulnerability as well. Let’s take a step back. When you left Brazil, your family’s knitwear company had just gone bankrupt. Because of that, have you ever felt pressured to gratify, please and rejoice your parents by making your name known all over the world?
I don’ t want to make fashion for the sake of it. On the contrary, I want to value my production and be fair to everyone’s hard work , so in the end you know you have a product you can pass on to generations. People don’ t crave things as fast as we were off ering them, they somehow felt like they had to buy into it and we had to constantly come up with something new, because we all got caught up in that system. That being said, we can definitely reshape consumerism!
Like every child, I have the need (never a pressure) to impress my parents. Anyhow, that need has nothing to do with our financial struggles. My parents are my safety net, my everything. Even in our family’s most difficult moments, I could always count on them to comfort, inspire, encourage and nurture me unconditionally. So, it’s more about showing them appreciation, showing them that I’ve learned a lot from their life story. They rejoice in the fact that I was able to create a business that fulfills me, but more importantly, they’re pleased that I honour the values they’ve passed down to me.
Can the same be said for you and your brand? When you design a collection, do you think of anyone in particular?
It’s always nice to see celebrities like Dua Lipa, Lady Gaga and Miley Cyrus wearing my pieces. In all honesty, nothing beats the feeling of someone who’s been following my brand cheering on me. Also, it still astounds me when I see clients wearing my jewellery on the streets. It might sound like a boring answer, but with no demagogy I design jewellery for everyone, and I’ll always appreciate and acknowledge any client of mine who shares their picture with me. Let’s talk about The Greatest #18’s theme: ‘breath’, meant as a sigh of relief in a time of change. Due to the health emergency that we’re all facing, the fashion industry is being forced to slow down, operating at a new pace. Do you see it as an opportunity to reconsider the importance given to speed and novelty in our society?
I don’t feel it’s just important but also necessary. In July last year, I decided that I’d just show two collections a year. I did that because, as much as I love working, it was taking a toll on the passion I have for my work. Working on four collections a year, plus collaborations, had me feeling more isolated than now in quarantine. I still have the drive to be very successful, but I also have the drive to live a healthier life and create meaningful personal memories. Speaking of this, a few days ago we interviewed Chilean actor Jorge Lopez, who told us: ’Up until the COVID-19 emergency started, I was a little tired and with a very intense schedule, but I never meant to take a break. The truth is that I like the rhythms of my job. After so many years, I’m used to such a fast work pace and, as I enjoy my job and have a good time on set, I just carry on without resting’. Being a young entrepreneur, how do you manage to find a balance, and keep your personal and professional life separate? When you feel overwhelmed, do you stop, take a breath and call it a day, or is the love
Moving to social media, is there a goal you don’t think
for your job able to sweep away fatigue, tiredness and
you would’ve reached without being on them? What’s
exhaustion?
the collaboration you’re most proud of among those coming from social networks?
I’m sure I would’ve found my own way even without social networks, but it’s a fact that I’ve gotten to where I’m now because of them: social media led me to all the amazing people I had the honour and privilege of working with. That being said, it wouldn’t be fair to the whole body of work to choose just one collaboration (Smiles, E.D.). By the way, for The Greatest #17 - The Power Issue, I talked with Palm Angels’ creative director Francesco
The rhythm of my life is somewhat dictated by the fashion industry’s seasons. I’m usually at my peak in the three to four months preceding the presentation of a new collection. I’m always traveling, having countless meetings with my design and production teams, finalising collaborations, etc. The weeks following any presentation, I need time to recharge, enjoy my home, reconnect with my family and friends. This ‘me’ time is essential to get the juices flowing and start drawing and designing again. Whether I’m at my busiest or most rested, I count with the support of my team, which is led by my brother Juan.
Ragazzi, and he said: ‘Besides the people on the street, my testimonials are celebrities who, thank goodness,
To end on a positive note, how did you feel when you
have been following the brand since day one. It’s a really
met, for the first time, a man wearing a piece of jewellery
important aspect of my work. In fact, when I design a
designed by you?
new collection, I always include a few stronger pieces for American rappers, such as Pharrell Williams and A$AP Rocky, to wear on stage and for public appearances’.
I felt understood.
Woodkid Yoann Lemoine INTERVIEW
PHOTOGRAPHY
Marco Martello
Matthieu Delbreuve
Many know France-born creative Yoann Lemoine for the songs he released seven years ago under the musical project Woodkid, but he’s way more than your average singer and composer. From directing a multi-award winning short film to writing a widely-acclaimed debut studio album, Yoann has built his career on establishing a link between the world of image and that of music. As he told me over the phone in a thick accent while talking about his upcoming record ‘S16’, Yoann spent all those years off stage catching his breath and figuring out the space where he can form an opinion and, of course, share his point of view on the world. After much consideration, he’s now ready to take the stage again in that poetic, raw and dramatic way of his, being the interpreter of the theatre of life we all know and love.
It took me some time to process the concept of ‘pride’, as I couldn’ t get my head around what it was all about. Back in the day I wasn’ t comfortable in my own skin, and I remember asking myself : ‘ Where is pride in all of this?’. Over time, I’ ve realised pride can be found in being a militant and begun to speak out. I think it ’s the right thing to do, and I probably should’ ve started earlier on in my life. Yoann, when I started writing these interview questions,
this commercial? By the way, what role does humour play
I looked for information about your childhood, but it’s as
in your life?
if an aura of mystery surrounded you and your personal life. I have to say it’s rare to meet such a reserved artist. So, how would you describe the child you were and the man you are now to those who just know Woodkid, the musician they see on stage?
Well, I was a pretty introverted child. I was born into a right-wing family and grew up in the French countryside. By the way, I used to spend the holidays in Poland, as my family on my mother’s side comes from there. In France, we have this expression, that could be translated in English as ‘social transformation’, and I think I’m a good example of that. In fact, I moved away from the countryside and, of course, found my own identity, being influenced by the arts and left-wing ideals. I think I’ve become who I’m now by moving a lot, both from a mental and geographical point of view. Perhaps not everyone knows that you graduated in film animation from Lyon’s Emile Cohl art school, and then you started working alongside directors by the likes of Luc Besson and Sofia Coppola. Can you share with us the goals you had when you took your first steps into the world of cinema?
Actually, I first started working as an illustrator and animator, because of the studies I had done. That being said, I dreamed of becoming an entertainer. Not surprisingly, I’ve always been fascinated by the idea of the stage and what you can do when you go up there: the lights, the motion, the curtains opening…it’s one of the most important love stories of my life!
It came up to me through the agency I was working with. The idea was to use my work as an animator to address issues that were important and meaningful to me. I think it’s exactly what I needed to do at the time. It was a huge success, the video went viral and I won many prizes with it. As to humour, I’m a funny person and love to have a laugh with my friends. However, it’s something I still have to figure out in my professional life, as my work can be way too serious. Humour is an extraordinary weapon, so in my future work I’ll definitely find a place for it! Millions of people have watched the music videos you’ve made for today’s biggest pop stars, such as Lana Del Rey, Harry Styles and Taylor Swift. Are the emotions you feel when you’re behind the camera the same as the ones you experience while performing in front of it?
To be honest with you, no, they’re not the same. First of all, I’m not often in front of the camera, as it makes me feel uncomfortable: I’m a bit shy and try to stay away from the spotlight. That being said, I consider myself a pretty good director and, when I’m behind the camera, I feel in control. Mind you, being on stage and in front of cameras are, for me, two very different experiences. In fact, even though I’m surrounded by thousands of people taking pictures and shooting videos, performing on stage makes me feel absolutely free! Speaking of music, it’s been 7 years since you released your debut album ‘The Golden Age’. Can you remember where you were and what you thought when you first heard one of your songs on the radio?
Going off this, you’ve won five Cannes Lions awards for directing ‘Graffiti’ (2010), a video you filmed, with a witty, fresh and simple approach, for an HIV awareness campaign. How did you come up with the concept for
It was a time of excitement, great excitement. I remember feeling very self-confident, like I could rule the world, you know. Back then I really liked the state of mind I was in,
I’d love to go back to painting, give character acting a try and, you know, express myself in other ways. However, I don’ t want to lose myself doing too many things at once, and it feels like I’m already doing a lot. By the way, people usually see musical artists who are very visual in their work as if they were trying to camouflage something, but it ’s not my case. More simply, it ’s where I come from, it ’s what I did at the start of my career. a nightmare that keeps you awake at night with us, what
you feel lost and hopeless? Does it help you process your
would it be?
emotions and sensations in a way that’s almost cathar-
Yes, I think so. For me, music is about creating a parallel, intimate yet grandiose dimension, where you can find some fiction. In the video for ‘Goliath’, you can see machines and, to be more specific, the inside of a machine, that’s something real and very intimate. It’s not only a metaphor for the relationship we have with darkness and the way each one of us deals with the monstrous, but also a reference to individual and collective responsibilities in the creation of a system. As to the second part of your question, I think my worst nightmare is being forgotten!
Yes, definitely. I think ‘S16’ could be considered a commentary on some things I’ve come to realise and ‘Pale Yellow’, a story about hope and, of course, a love-hate relationship with addiction. In fact, there was hope in me, but it was kind of bittersweet. After all, people always hope it’ll get better and it never does, so we just end up in a never-ending cycle of self-destruction. That being said, I like to use music as a way of creating a piece of art, but I don’t think it’s the only way out for me. As further explained in the album, what really helps me to get better is other people, seeking help and relying on them.
tic?
but I don’t want to be in that state today. I feel like now I’m a bit more humble than I was before, and I also feel like I didn’t know much at the time, but I’ve gone through a lot since then, and that’s helped me learn about myself and the others. I think ‘Iron’, one of your most well-known tracks, could be considered the manifesto of your musical project.’Deep in the ocean, dead and cast away / Where innocence is burned, in flames / A million miles from home, I’m walking ahead / I’m frozen to the bones, I am’ (from ‘Iron’, ‘The Golden Age’) is about the transition from boyhood to manhood, and it also recalls the story behind the name you chose for your persona. So, what’s your fascination with the in-between about?
Well, I just like what’s in-between. I think it’s linked with my nature, the way I am. By the way, what fascinates me the most about transition is the sense of connection that comes with it. I don’t think I’ll ever want to be confined to a field or stage of life. In fact, as I said previously, I like to always be on the move (both from a mental and physical point of view), because that’s when I can learn the most.
As we said before, you didn’t perform, or even release new music, for a while. Did you spend those years catching your breath and walking at a slower pace? What prompted you to make your comeback in such a difficult and unsettling time?
Yes, that’s right. I also tried to answer these questions: ‘Where’s the political element in my work? What’s the space where I can form an opinion and, of course, share my point of view on the world?’. By the way, I think it’s good to not walk so fast sometimes, taking all the time you need to say the things you have to say. As to the second part of your question, I started working on this new album in 2016, way before COVID-19 and what’s happening in the world right now. In the beginning, I took it very slow, composing the first song fragments and making a collaboration that was a bit of an underground project. That being said, at a certain point you have to release things, and I feel like my fans were really asking for it. So, I just finished the album, and I’m now ready to give ‘S16’ to the world. One of the many topics you addressed in ‘S16’, your upcoming album, is the boundary between fiction and reality. Would you say you draw inspiration from your own dreams when you write music? If you had to share
In your new single ‘Goliath’ (from ‘S16’), you gave the David and Goliath bible story a makeover, setting the
Let’s take a step back. In an interview, you talked about
most well-known underdog story in modern-day society,
the protests and violence against gay people and, more
where the role of Goliath is played by machines and tech-
specifically, declared: ‘When you understand the reason
nological artifacts. Through such a song, did you mean
why somebody hates you, you’re a little more moderate
to exorcise your demons and, perhaps, the unconscious
about things, and you try to change them, instead of
fear of an over-digitalised future?
blaming them’. Do you think music is an effective tool when it comes to educating the younger generations and
Yes, probably. As I said before, ‘Goliath’ is about the idea of the monster inside, a monster that just has to be overthrown. Through the music video, I made a commentary on the system I’m building. I’m not a fool and I know there’s a system around my songs, which have been used in many different commercials over the years. I’m making use of that system to create an economy around my own music, but I’m aware of the danger and, of course, how difficult it can be to live in that system. It’s easy to say pretty much anyone who ever had a broken heart will relate to your latest song ‘Pale Yellow’ (from ‘S16’), thanks to its raw, poetic and sincere approach. Is music the source of comfort you draw on when
fighting against discrimination?
Yes, definitely. I think that I made a political statement when I wrote and, of course, sang love songs for boys. Perhaps, I could’ve been even more vocal about my own identity, sexuality and, you know, everything that comes with it, but I wasn’t quite ready. Now I’m getting more and more in touch with my identity, and I’m also understanding its connection with my sexuality. Although my intentions are good, I feel like I’m still not vocal enough, as I refrain from responding to personal attacks sometimes. Going back to my music, on the new record there’s a song called ‘So Handsome, Hello’, that’s pretty ‘graphic’ and talks about sexual empowerment and submission. I think that I would’ve
never been able to address such a topic in my first record.
and spend time with ourselves. We’re so focused on reaching our goals and being what the society expects
Sometimes, the artist on stage is just as important as the
from us, that we don’t even know how to stop and
audience. What I mean is that each and every audience
catch our breath anymore…
is somewhat different, and the audience you’re singing for can, of course, affect your performance. Therefore, I’d like to know more about your fans and the relationship you have with them.
It’s complicated, as there’s always been a voice in my head saying I don’t deserve what I have. So, being on stage and hearing people call my name and say ‘I love you’ just feels unnatural to me. I think the relationship you have with your fans has a lot to do with your self-confidence as an artist. I don’t have much confidence in myself on many levels, and that’s the reason why I almost can’t believe my ears. That being said, I know my fans are very important: they’re not just people who love me, they’re actually the ones who make me who I am, who make my success. So, it’s not about whether I deserve all of that or not, it’s about giving to my fans what they deserve, that’s the result of my hard work. When you understand that, your relationship with your fans changes entirely.
If you ask me, I didn’t struggle with confinement: I have a nice apartment, so I worked from home and kept myself busy. That being said, it’d be foolish to think it’s for everyone. In fact, I know so many people who live in really small apartments they don’t like, and these people struggled quite a lot during the lockdown. I feel like there’s something aggressive in saying that the quarantine was an occasion for us to think about ourselves, as for a lot of people it was pure and absolute struggle. They didn’t have the luxury to reflect and redefine their concept of solitude, you know. As to the music industry, it’s such a difficult time for so many young artists, and this saddens me and makes me wonder: ‘How did we end up in a situation like this?’. I don’t blame anyone, I just hope for the best! Yoann, you have many life achievements you can look back on. That being said, do you have any regrets? Have you made compromises in the private sphere to
Let’s talk fashion. Over the years, you’ve often collabo-
succeed professionally?
rated with Louis Vuitton’s Nicolas Ghesquière, composing the soundtrack for the brand’s fashion shows and campaigns. What’s the most interesting and stimulating aspect when collaborating with a luxury brand? How about the most challenging one? By the way, how do you manage to establish a well-balanced dialogue between music and fashion?
Being a film director, I’ve always been fascinated by clothes and their narrative strength, as garments can make 50% of an image. That being said, I’ve never seen this collaboration as a partnership with a luxury brand. For me, it’s always been about working alongside Nicolas, who’s a great artist: I really admire him and, more importantly, I relate to the way he works, creating a sense of collision. To answer your question, I’ve learned quite a lot from this experience, thanks to the wonderful playground and, of course, the total freedom of expression that’ve been given to me. In fact, when collaborating with Nicolas, I’ve never had to worry about classic formats or, you know, radio-ready structures, being encouraged to explore unknown territories. As to the second question, when Nicolas and I start working together, there’s just a moodboard, no clothes whatsoever. So, the making of the collection and that of the soundtrack run in parallel. Anyhow, what I really want to say is that our very collaboration is completely different from what you’d expect a commercial partnership to look like: it’s not about money, but research and creativity! The pandemic the world is currently facing obliged us to stay home, cancel work and leisure travels, and reconsider the concept of ‘normality’. Many felt as if they were prisoners in their own homes, and I believe that sense of captivity is linked with our ever-growing inability to deal
Yes, of course. For example, when you go on tour, you have to leave everything behind. I think it’s a part of the game. My biggest regret is probably letting some people I worked with and loved deeply on a human level abandon me (mind you, I never pushed them away, as loyalty is one of my traits). Anyhow, I’m happy with my life and never felt like I was a ‘prisoner’ because of the work I do. Could things be slightly better? Yes, but who am I to complain? To end on a lighthearted note, if you could be anywhere in the world right now, where would you be? Where does your heart belong?
Well, as I’m exhausted, I’d love to be on a beach with clear water, so that I can scuba dive. That being said, I truly believe my heart belongs in France: I’ve been to many places over the years, but I’ve always come back to Paris. If you ask me, I think Paris is having a momentum right now, and that probably has to do with Brexit and how the world is changing. Moreover, since the attacks, Parisians have not only been a bit less snobby but also more caring and open about their vulnerabilities. To conclude, I’m proud of my country and compatriots, but I’d love to see a massive change in the government.
Arlo Parks INTERVIEW
PHOTOGRAPHY
Nicola Brajato
Marek Chorzepa
Despite her young age, London-based producer and singer-songwriter Arlo Parks offers an interesting glimpse into contemporary society. In its delicacy and vulnerability, her poetic voice is so powerful when addressing the younger generations’ mental health, emotions and dreams. Providing a beautiful example of music’s healing power. Her confession-like approach to music gets under the skin of Generation Z with songs like ‘Black Dog’, where she talks about her friends’ experiences with depression, or describing the feelings of agony, jealousy and confusion in ‘Eugene’. All it took was a phone call and a one-to-one conversation to enter this artist’s world. We discussed her music, the importance of being authentic and what it means to be a queer black singer today. With her debut album coming out soon, Arlo Parks is for sure one of British music’s most interesting new talents.
Vulnerability is a key element in my music. I think it means being completely open about how you feel and just breaking down those barriers. I also think it ’s about showing yourself as a human being with weaknesses. A lot of music is, maybe, slightly more polished or has less substance, but I think my music is meant to tell people who I am and how I feel. That in itself can be scary, but I think it ’s worth it.
To start, how are you doing and how did the last months
‘Black Dog’, you beautifully discuss the darker side
of lockdown go for you?
of young lives, including mental health, the feeling of helplessness and depression. How do you think music
I’m good, thank you. It was a lot of ups and downs, to be honest with you. I was supposed to be singing at thirty festivals and going on tour for several months. So, it was a bit of a shock. Anyhow, I just rolled with the punches, studied writing, created lots of new music and stayed grounded. I see music has helped you go through this tough period. In this regard, who’s Arlo Parks the artist, and how would you define your music?
That’s an interesting question. I think, at the core of my music, you can find emotions and sensitivity. In terms of genre, it’s quite fluid and made of different styles, being mainly based on poetry. So, yes, I’d say it’s emotional and confessional. As an artist, I think that I have a natural interest in people. I love to spend time in big groups, being pretty extroverted. However, I’m also quite introspective and spend a lot of time in my head. Which role did music have growing up, and when did you decide to pursue this career?
When I was growing up, music was always playing in the house. My dad was a big fan of jazz, always listening to soul music, like Otis Redding’s. Then, once I got a bit older, my uncle gave me his vinyl collection, which had a little bit of everything, and I started finding my musical taste. I’ve been making my own music in my bedroom since I was about fourteen or fifteen years old and, oddly enough, I remember leaving the venue of my very first concert and saying: ‘Wow! That’s what I want to do!’. It was a beautiful moment. Music has always felt like a safe place, where I can express my feelings, process and get things out of my chest. From your breakthrough song ‘Cola’ to your latest single
can help the younger generations in coping with these issues?
I think the beautiful thing about music is the power it has to make people feel less alone. I believe a lot of the problems experienced by young people is feeling isolated, feeling like whatever they’re going through isn’t shared by others. I also think musicians have the opportunity to build communities around them, and that makes you feel like you’re a part of something bigger. Through your songs, as we previously discussed, you address your generation’s many different struggles. Do you also see your music as an autobiographical work? If so, what effects have your words and music had on your life?
It’s mainly autobiographical. What I mean is that sometimes I tell the stories of the people around me, and not my own story, but it’s always very personal. I think being vulnerable can be scary, because I’m talking about my life and very deep personal things. However, it’s rewarding, because it feels like I’m writing something authentic and, when people connect with it, it feels like they’re really connecting with me. Considering the poetry and emotions behind your lyrics and songs, do you have a personal creative process? Are you inspired by something in particular?
When I start writing a song, I spend five minutes just writing continuously on a piece of paper. I think it helps me kind of get to the bottom of my subconscious and find out what I’m really feeling. From there, I’ll form that into a poem, and that’ll form the basis for the lyrics. So, usually the lyrics come first for me. I think that I’m inspired by a
When I started making music, my ultimate goal was to help people, connect with them, be the artist that the sixteen-year-old me would’ ve listened to. Somebody who’s making music that ’s openly emotional and vulnerable, and it feels like I’m doing that when I talk to my fans. lot of things and try to find inspiration in many different sources. I was watching a Hitchcock’s movie the other day and, suddenly, the colour scheme struck me. Then, I read about art history and saw some paintings, and that inspired me as well. I can even listen to an album all the way through and feel inspired. I think, for me, it can be just about almost anything. The topic of this issue of The Greatest Magazine is ‘Breath’, the idea of taking a moment to pause and think. How important is it for you to breathe in this sense, and how do you do it?
For me, it’s so extremely important. I’m somebody who’s quite restless and feels almost more relaxed when in motion. So, it’d be doing something like cooking, painting, or going for a run, something where my mind just feels completely cleared. Every morning I write down my thoughts and that’s a really quiet moment at the beginning of the day, it allows me to breathe before I go into whatever I’m doing, grounding me. I think it’s almost a form of meditation for me. In your song ‘Super Sad Generation’, you portray the sometimes toxic ideals of today’s youngsters. However, people like you clearly demonstrate the positive and promising side of our future. What do you think the strength of the younger generations is about, and how
weren’t many queer girls of colour making music. So, what does it mean, for you, to have the possibility to talk about queer love, existence and struggles through your songs today?
I’m blessed, because I feel safe enough to do that and many people don’t. It’s just extremely important to me. I’ve reached a point where I’m very comfortable and confident in who I am. I’ve had a few conversations with some of my queer fans, in which they told me they feel represented by me, and that it’s inspiring seeing me doing what I’m doing. In my opinion, it’s fundamental to always speak up, be vocal and try to support others while doing it. It feels beautiful. It takes some courage to live your true self, especially when it goes outside social norms and expectations. Were there any particular moments or challenges in your life, that made you realise the importance of taking a position and telling your truth, through music and poetry, to people?
When I was growing up, there was a sense of wanting to fit in very badly. You know, when you’re young, you want to be cool, a part of a group. I always felt like I couldn’t, a sort of inadequacy. I think music and writing just helped me process these feelings and come to a point where I’m comfortable in my own skin. It also helped me fully become who I am and not be afraid of what people might say.
could they change to improve our world? To conclude, Arlo: what do you hope your listeners take
What’s beautiful about our generation is that it does seem to have a passion, a desire to act and actually change things. I see it especially in the young people around me. Whether it’s about the environment or Black Lives Matter, it does feel like young people are speaking their mind and standing up for what they think is right. I believe that’s something that can contribute to changing the world, because I think being vocal about things and actively trying to change them is, I guess, the best way to progress. We also live in a historical moment where representation, diversity and inclusivity are more important than ever before. In an interview, you stated that growing up there
away from your music?
I just hope they feel understood or moved in some way. I hope it really affects them and they remember my songs. Also, I love the idea of them sharing my music with their friends, or loved ones, and enjoying it together. Somebody was talking about my song ‘Black dog’, they listened to it with their partner and initiated a very frank conversation about mental health, and it helped save their relationship. So, I hope it just sparks something deep within.
Matteo Cibic INTERVIEW
PHOTOGRAPHY
Barbara Maestri
Leonardo Veloce
On a warm spring morning of social distancing, I reached multimedia designer Matteo Cibic by phone. That allowed me to catch the tone of his calm yet cheerful voice and the muffled noises coming from his microcosm. The piercing quietness of my room, his ‘ Made-in-Treviso’ way of speaking, his breath’s suspension to grasp the words, the subtle whispers of a safe home space, turning his stream of thoughts into contagious positive vibes. As a physical distance became an unexpected way for socialising, Matteo showed me how – in his vision – past, present and future merge into timeless icons. Peacefully aware of his fortune and day-dreaming creative mind, Matteo conceives design as a system of relationships and fun as the engine of it all. He’s an amazing, while unintentional, example of philanthropy, as well as a breath of fresh air.
As a designer, I have no desire to send a message and conceal a hidden meaning. I don’ t feel tied to the now, but to a legacy, a milkshake of inspirations from the past revisited by me. I’m very into the 18th-century pieces of ‘ Wunderkammer ’ : even today we can appreciate their beauty and good quality, as they ’re not historicised objects, but objects of the wonder that last forever.
In design, sight is the dominant sensory perception.
For some reason, the designer is often seen as
Somehow your modus operandi allows me to re-evaluate
a collector…
another sense, that’s often taken for granted: touch. From the use of many different materials to the partnership with craftsmen. What other meaning do you find?
The human relationship with craftsmen is essential. With them, I create an empathic bond, sharing the love for materials. In their labs, I enjoy overcoming the technical barriers of their work, in order to create objects that are difficult to replicate and discover the hidden potential of the object itself. That’s what characterises most of my designs, conceived as ‘objects of the wonder’. I also like to find different points of views with matter and surfaces, study how to treat them with rudimentary or innovative technologies, discover unexpected or twofold functions. I work with all kinds of artisans and industries, often trying to change things up with new procedures, borrowed from a more technical or decorative field. I like to bring together different worlds and reframe them. My designs also depict zoomorphic or anthropomorphic shapes, helping to create a bond with whoever sees or purchases them. So, touch is a part of a path. You stated: ‘I draw objects with unexpected functions’. That made me think of a Japanese belief about the soul of objects – far from the western view of consumerism.
Well, I have to say I’m not a collector. Anyhow, during my travels, I buy items I like. Not for their economic value, but for an aesthetic or emotional one. I like them for the way they’re made or I can even be caught by their particular smell. In Nepal, I purchased a wooden, house-shaped butter dish. Inside of it, I perceived a peculiar wild smell of goat, giving me infinite joy and leading my mind to a known world that’s my home. So, my collection of decorative objects is more of a cliché. To me, the most fun part is to establish connections and exchanges with friends, who then produce their own objects. It’s all about relationships.
Sure! Designing is a way of relating to people I never thought I’d relate to. It’s a system of relationships. Through fun and experimental projects, I approach very different cultural environments. People fall in love with what I do, allowing me to enter their worlds. Take, for example, my business and fame in India. A gentleman, who later became a friend of mine, was a fan and collector of my work. We started as acquaintances, and then we launched together a luxury brand. At the basis of everything, there must be an empathic human relationship and mutual exchange.
What’s your relationship with objects? Your metamorphic ability consists of shaping works
I see objects as animals. Not by chance, I draw them with a symmetry and structure that resembles human anatomy, in which you can see legs, eyes, ears and a nose. In fact, when I’m in front of an object, I always try to decipher its human aspect. So, my relationship with them is of empathy. Although, paradoxically, I’m not tied to physical things. If I had to answer the question ‘What would you save if your house was on fire?’, I’d say that I’d only take my external hard drive!
according to the context. The ‘COV’ collection takes account of the current situation of social distancing.
After noticing awful solutions, aesthetically speaking, I thought of creating more pleasant tools to space people inside shops and rooms. The engaging theme is to call them socialising tools, rather than partition walls: for the first time, walls aren’t used to split, but to bring people together.
At work , my purpose is always to create timeless objects, objects that could’ ve been designed, either in the 1800’s or in the 1930’s, in India, Italy or even South America.
I wouldn’t have expected to draw dividing panels, much less figured for socialising!
In a hyper-technological era, where everything runs fast
Anyone can identify Jeff Koons as the mastermind be-
Being hyperactive, I don’t find it stressful. While making a broader reflection, I’ll tell you what’s happening next. Thanks to A.I. processes being automated and things dematerialised, lots of creative proposals in fashion and design will be developed, through a series of digital services and virtual prototyping. Starting from a huge collection of cyber samples, only the actually purchased or booked pieces will step to an on-demand production. More ideas will come, trends will evolve faster and faster, the processed material will be less and less. That will help from an ecological point of view as well.
hind the steel balloon-shaped sculptures. What’s your icon par excellence? How much are you attached to it?
I’d say three. The ‘Donky’, the ‘Domsai’ and a piece from the ‘Scarlet Splendor’ collection, that could be either ‘The General’ or ‘Woman in Paris’, both made with the ancient Indian inlay technique. Although, I don’t get attached, otherwise I wouldn’t design anymore. I’m glad that I made them and that they exist! Now, my focus is on developing new objects, icons that are easily explainable and drawable even by a child. As I always say, they must be recognisable and imprinted in everyone’s mind. In fact, objects are like platonic forms.
and everyone competes to set trends, how do you react?
‘He/she’s gifted’ is a way of referring to a genius in the world of art, sports or music. As if a blindfolded goddess of fortune distributed gifts, and a part of personal merit
I mentioned Koons not by chance. Take his words: ‘We’re
is taken away.
balloons. You take a breath and you inhale, it’s an optimism. You exhale, it’s kind of a symbol of death’.
His thoughts are too elaborate for me! (Laughs, E.D.) Sorry, I’m not that deep, I work on lighter subjects. More than conveying thoughts on certain topics through my works, I’m interested in managing relationships with people. I care about working with companies that have a social and sustainable approach, rather than doing philosophy.
Everyone has innate qualities. I was lucky enough to discover my gift and to fall in love with it. So, it’s more of a matter of enjoying your skills. Also, determination is key and you have to show it to potential partners: achieving a goal is always a team effort. I love to inspire others to pursue their dream through my dream! Rewinding the tape of your story, is there a moment you’d like to relive?
Did you sacrifice something to get where you are now?
Maybe time, but time is relative. My sacrifices have been extremely poor, if compared to those people make daily around the world. You and I belong to a community that can afford to talk about amusing stuff like art and design. However, we’re only 0.01% of the human race. I’m blessed to do a job I like in an extremely wealthy environment. Last time I said this, somebody booed me: I was at Domus Academy in Milan, in front of international students who can afford such a school. I think it’s strange not to realise our privilege. Given the world and its issues, I’d say we’re lucky! Maybe if we’d extend the subject to a European level, Italy has to improve…(an unclear voice breaks Matteo’s flow, E.D.) my wife is saying we must move to Denmark, a more evolved country. Then again she’s pessimistic, whereas I’m a cosmic optimist!
As I’m now a husband and father, perhaps it’s difficult to live daily in a cluster of brilliant people who experiment in arts. In the past, I was a part of Fabrica (Benetton’s research center in Treviso, E.D.), where I dealt with multicultural young people and engaged in the most assorted fields: from creative writing to graphic and music. Being exposed to that community was a unique juncture. In fact, I created networks there: whenever I travel, I can find special people to share my time and develop projects with. So, this is my secret dream: make that time of exchange and experimentation with worldwide people really possible again, and how? When you want something, you just find a way!
Federico Cesari INTERVIEW
PHOTOGRAPHY
FASHIONEDITOR
Giovanni Garofalo
Valentin Hennequin
Matteo Greco
He turned Generation Z on to ‘Skam Italia’ through his performance as Martino, the protagonist of this Netflix original series. Federico Cesari is young and bright, but he already has that sense of melancholy that’s dear to all the disillusioned dreamers. He’s the next-gen actor loved by each and every generation. Attentive to every stimulus, through his characters he addressed many different issues. In a constant ‘do ut des’ between person and characters, it seems that Federico is growing not only as an actor, but also as a man. After all, in the heart of this ever-changing actor, there’s not just talent, but many different strengths, such as the will to fight in order to always improve. Jacket MARCO DE VINCENZO - T-Shirt N°21
Before Skam Italia, Federico already was an actor. You’ve basically acted since you were a child (I remember you playing a role in Pupi Avati’s ‘A Dinner for Them to Meet’). What do you remember from the experiences you
share the same philosophy. In fact, both of them are jobs requiring a big dose of empathy and humanity, as they’re based on contact with people. This contact is what I’ll be looking for in my future job.
lived when this job was probably just a passion for you? What was your first thought when you were chosen to
When you’re a child, you have little awareness of what you’re doing. In fact, you see what you live as a game. Back then, I had a different intellectual commitment. What I mean is that I didn’t have a purpose, as it was an experience driven by passion and not the goals I could achieve through my performances. I remember that, for me, it was very fun to play the role of someone else, someone different from me. The set, the lights, the excitement I could feel in the air...it looked like a big playground to me, a world I had never seen before! This is what prompted me to keep on growing as an actor. That being said, I haven’t reached a threshold: acting is still a passion for me. Right now I’m studying medicine, and this is a commitment that I’m doing along with acting. Studying and acting are two important, and still ‘undefined’, aspects of my life, so nothing forbids me to see acting as a passion and not just as work. I think this is what protects me from being disappointed. Many friends and fellow actors, on the contrary, live with lots of anxiety, as they made acting their whole life. After all, this job is made of uncertainties, light and shadows. I still look at the world of cinema with the eyes of an excited child, even though I’m way more aware of what goes on behind the scenes than I was as a child. You said that you’re studying medicine and it’s an important aspect of your life. Why did you choose this subject?
When I graduated from high school, I just wanted to keep on studying. With that said, being a doctor and working as an actor are diametrically opposed alternatives, but they
play the role of Martino Rametta in Skam Italia?
I felt very motivated. I believe Martino is a beautiful character, a complex one. Moreover, the idea of having a whole season centered on my character and being able to express it at 360 degrees really pushed me, as it’s a rare opportunity for a young actor like me. For that reason, I’m still grateful to who chose me. On the other hand, I felt quite anxious, as Martino embodies really important issues and I wanted to get his message across. For sure, I wasn’t aware of the impact this TV series would have on the audience. Perhaps, if I knew the success it’d have, I would’ve been even more worried. In your everyday life, do you feel a bit like Martino? Is it easy for you to put yourself in his shoes, or are there too many differences between the two of you?
I tried to mix a part of me with Martino. I always look for common points, in order to stay in touch with the character. What I do is try to put something of myself, while keeping it in line with the role I’m playing. The experiences Martino lived, belong to me somehow. In Martino, I found many things we actually shared, such as the approach to people and value of friendship. Martino has stronger walls than I do, he’s someone who needs much more time to open himself and let people into his life than I do. With that said, there’s no clear difference or similarity, as Martino and I get confused with each other at the boundaries between person and character.
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I’m very grateful to do the work of an actor, because it allows me to face many diff erent issues that, in everyday life, are often addressed in a superficial way. At the end, you’re changed, sensitised and, most importantly, way more mature. Moreover, it makes you acquire some features of the characters you play. In fact, the best features of each and every character stay inside of you, even when you stop playing those roles. Needless to say, all the characters I’ ve played keep on living inside of me.
Sweater ACNE STUDIOS Opposite Page Hat N°21 - Shirt BALLY
I’m always very happy when, in a commercial, there’s some element that can raise people’s awareness on gender and orientation-related issues. When I saw that Skam Italia was being advertised through billboards featuring the kiss between Martino and Niccolò, I was filled with pride, because it meant that Italy was ‘ready ’. I’m positive and I think new generations will help win the fight against prejudices. What did you learn from this character?
actor and character is unavoidable. Has Federico evolved
Jumper ANDREA POMPILIO
after playing those roles?
All of us resort to filters, in order to look more or less strong. We mainly do that when we talk about our weakness, even when we make a confession to the people we trust the most. Martino, on the contrary, worked on himself, opening his being to the people close to him. He showed his weakness and insecurities in a sincere, direct and fearless way. Of course, that didn’t happen right away, but his journey can give food for thought. More so, through Skam, and not just Martino, I had the chance to deepen my knowledge of some of today’s most relevant issues. Playing in a LGBT season of the show prompts you to face issues that are often addressed in a superficial way. Thanks to Skam Italia, I feel like I’ve lived these dynamics and experiences first-hand.
When you work on a character a lot, you change and evolve, as you have to constantly live the life of someone else for a varying period of time. It’s inevitable that you make some of their features your own, may they be flaws or qualities, when you play a role for two to three months. I think the bond between your life and that of the character is unavoidable. We talked about the contact with people. Regardless of what you’ll be when you grow up, actor or doctor, the important thing for you is preserving this bond with others. You collaborated on the creation of content intended for both the general public and the audience of the so-called ‘web series’, winning them over. What’s your relationship
Even if you’re very young, you played other roles as well,
with the audience?
like the one of Gabriel in ‘The War Is Over’. How was that experience, so different from Skam?
Gabriel is even more different from me than Martino. Even in the easiest scenes, it was very hard for me to put myself in the shoes of such a character. Gabriel is very impulsive, he has a lot of anger inside. By the way, the difficulties were linked with the context as well. In fact, ‘The War Is Over’ is set in a different era in time and Gabriel lived and witnessed the atrocities of concentration camps. As much as I can be a good actor, that’s something I can’t even imagine: the pain he feels can’t be understood by a young man who lives in the modern-day society. For sure, this awareness made it harder for me to feel like Gabriel. Another difference is the language I had to use, as I was asked to adapt my way of speaking to post-war Italian and, trust me on this one, for a Roman like myself it wasn’t simple at all, as my Roman spirit always shows through.
Without my audience, I wouldn’t have the same strength. If I get the chance to meet those who appreciate my work and support me, I do it gladly. In fact, I’m always happy to exchange a few words with the audience, and I’d like to have more opportunities to speak with them. The audience offers you great moral support and, as cliché as this may sound, they really are a second family that never makes you feel alone. Being able to relate to different people who comment on your work and send you messages fills you with strength. Unfortunately I’m not into social networks and I don’t get to communicate with them as much as I’d like to, but I still know there’s complicity between us. ‘At 20 years old you have everything, but perhaps you’re nothing’ is a motto I often think about. It’s built on two beliefs. One being the false certainty of having time on your hands and, the other one, the fact of still being immature. Those beliefs often lead to the fear of not being
Analysing the profile and career of many fellow actors,
enough or not being able to do something. Have you ever
I’ve realised that, after playing a role, you’re not the
felt like this?
same person as before. I think the crash between the
Total Look MSGM Opposite Page Jacket and Shirt ASPESI - Shorts ANDREA POMPILIO - Boots N°21
Being able to relate to diff erent people who comment on your work and send you messages fills you with strength. Unfortunately I’m not into social networks and I don’ t get to communicate with them as much as I’d like to, but I still know there’s complicity between us.
In spite of a shared lack of belief in one’s skills, are you satisfied with your life? What are you grateful for?
I’m deeply grateful for what I do, that’s what I like. I study medicine, because I like doing it. I work as an actor, because I enjoy doing it. I’m not as happy with the results, but even though I don’t like myself in what I do, I’m still happy doing it. So, yes, I’m grateful and satisfied with my life.
recalling a dimension of purity and innocence that leads me to feel regenerated. Do you have a piece of advice for those who are your age and just started taking the first steps into the world of cinema?
Unfortunately, we live in a world where talent isn’t enough. Sometimes we don’t get cast and, behind that decision, there are many other choices prescinding from us. In fact, you can be a great actor and not get a part. That can create a sense of frustration and make you doubt of your own skills, but I think that’s pretty useless. You have to try again, not giving up right away. It’s easier said than done, but you have to be happy, because you get to do something that you like and makes you feel good. You have do it for yourself, regardless of the results. With a fair amount of luck and talent, sooner or later your time will come. If you have will, then you have enough means to succeed. That being said, you still have to ‘ration’ your dreams and expectations, being realistic.
This issue of The Greatest is dedicated to the concept of ‘breath’, meant as a sense of freedom, when being in
I wrote a final question, ’What will you do in the future?’,
touch with the surrounding space. When does Federico
to implicitly ask for some information regarding your
‘breathe’ freedom?
acting projects. With that said, at the end of this conversation, I feel like I’ve met, other than a good actor, a good
For me, it’s essential to find space, every single day, not to think about my passions, which have turned into work over the years. I believe it’s fundamental to dedicate time to yourself and the people you love, without always thinking about work. A breath meant not only as freedom but also as the ability
mate and so I’d like to ask you how many exams you still have to take this semester.
(Laughs, E.D.) I have quite a few exams to take. While playing in Skam, I lost some rounds. Now, I have four: cardiology, pneumology, dermatology and hematology…fingers crossed!
to regenerate and, most importantly, restart. Where do you get the strength to react from?
Good luck, then. I’m rooting for you!
I try to surround myself with people I’m familiar with, people who know me for what I am and just allow me to be myself. I regenerate myself when I’m surrounded by familiar things, may those be people or places. Even the simplest habits, like going to a bar with my friends, help me to feel recharged. A place where I’m at peace with myself is my house in the Marche region, where I’ve spent my summers since I was a child. This place reminds me of my childhood,
A heartfelt thanks.
Total Look BALLY Grooming Erisson Musella at Closeupmilano - Stylist Assistant Maggie Chao
It’s a sensation I constantly feel. I’m hypercritical when it comes to judging myself. The sense of inadequacy you talked about has always been there, and having to expose myself to the general public makes me feel even more scared and, of course, anxious. The audience can help you overcome anxiety, that’s the reason why I believe their support is a great source of strength. I never appreciate myself, but they can really motivate me. Every now and then, I tell myself this: ‘If people like my work, I must be doing something right’. In fact, if nobody appreciated what I do, I don’t think I would’ve succeeded.
PHOTOGRAPHER
FASHIONEDITOR
ART DIRECTOR
MODEL
GROOMING
CASTING
Gaia Bonanomi
Diogo Gomes BRAVE Models
Matteo Greco
Daniela Magginetti Closeupmilano
All Clothes Are By FENDI FW 2020/21 Collection
Sara Ferraris
Isadora Banaudi
Maxim wears Total Look FENDI - Necklace MODEL’S OWN
Photographer Assistant Elena Campese - Special Thanks to Dario Danielli
PHOTOGRAPHER
Javier Castan FASHIONEDITORANDCASTING
Javier De Pardo
MODEL
SETDESIGNER
Fernando Albaladejo - Hakim Model Management
Cristina Ramos - The Magnet Agency
GROOMING
PRODUCTION
Gloria Rico - Kasteel Artist Management using Shu Uemura
Andrea Pérez
Total Look LOEWE
Total Look GIVENCHY Opposite Page Coat, Pullover and Trousers LANVIN - Shoes CRAIG GREEN
Total Look GIVENCHY Opposite Page Bag GIVENCHY
Total Look LOEWE Opposite Page Total Look ACNE STUDIOS
Total Look MARNI Opposite Page Total Look BOT TEGA VENETA
Thiam wears Total Look GUCCI Opposite Page Sandah wears Total Look MSGM
Bag GIVENCHY Opposite Page Total Look CRAIG GREEN
Thiam wears Total Look GUCCI Opposite Page Sandah wears Total Look MSGM
Total Look ACNE STUDIOS Opposite Page Coat LANVIN
Total Look CRAIG GREEN
Total Look BOT TEGA VENETA Opposite Page Total Look BOT TEGA VENETA
Coat VALENTINO - Shoes GIVENCHY Opposite Page Total Look MARNI Special Thanks to Domingo Pérez
PHOTOGRAPHER
Valentin Hennequin FASHIONEDITOR
Simone Rutigliano MODELS
PRODUCTION
Bastian Bergstrøm - The BAND Management Jeremie Querin - NoLogo MGMT Kristoffer F. Sporon-Fiedler - 95MGMT
Ali Kiblawi - PBJ Inc.
GROOMING
EXECUTIVEPRODUCTION Justin Gerbino - PBJ Inc.
Luigi Morino - Closeupmilano
CASTING Isadora Banaudi
Bastian wears Skirt THOM BROWNE - Trousers ALEXANDER McQUEEN / Kristoff er wears Top ACNE STUDIOS - Trousers VERSACE
Bastian wears Vest and Necklace ANN DEMEULEMEESTER / Jeremie wears Coat MARNI - Vest GUCCI - Trousers and Harness ALEXANDER McQUEEN Opposite Page Jeremie wears Top MARNI - Shirt ALEXANDER McQUEEN - Trousers DRIES VAN NOTEN - Shoes ANN DEMEULEMEESTER / Kristoff er wears Coat ACNE STUDIOS Trousers ANN DEMEULEMEESTER - Boots THOM BROWNE / Scarf DRIES VAN NOTEN
Bastian wears Shirt DRIES VAN NOTEN - Trousers and Boots FENDI - Bag MARNI / Kristoff er wears Total Look ANN DEMEULEMEESTER Opposite Page Bastian wears Blazer and Trousers LOUIS VUIT TON - Chest Chain MACABRE GADGETS
Bag GIVENCHY Opposite Page Bastian wears Top VERSACE - Trousers ACNE STUDIOS - Headpiece MACABRE GADGETS / Kristoff er wears Coat and Trousers DRIES VAN NOTEN - Necklace GUCCI
Bastian wears Cape, Trousers and Shoes JW ANDERSON - Ring DRIES VAN NOTEN Opposite Page Bastian wears Total Look DIOR MEN
Jeremie wears Total Look GIVENCHY Opposite Page Jeremie wears Total Look MAISON MARGIELA / Kristoff er wears Top ACNE STUDIOS - Trousers GUCCI
Bastian wears Vest and Necklace ANN DEMEULEMEESTER - Trousers DIOR MEN / Jeremie wears Coat MARNI - Vest GUCCI - Trousers and Harness ALEXANDER McQUEEN Opposite Page Jeremie wears Total Look BOT TEGA VENETA / Blanket GUCCI DÉCOR
Top, Sleeves and Trousers HARRIS REED - Tights Worn Underneath GUCCI Opposite Page Total Look MOSCHINO - Headpiece ATELIER BENJAMIN PAUL - Socks FALKE
Kristoff er wears Top ACNE STUDIOS / Jeremie wears Total Look MAISON MARGIELA Opposite Page Kristoff er wears Total Look GUCCI
Kristoff er wears Total Look LOEWE Opposite Page Kristoff er wears Total Look ANN DEMEULEMEESTER / Bastian wears Shirt DRIES VAN NOTEN - Trousers FENDI - Bag MARNI Stylist Assistant Giammarco Cingolani
PHOTOGRAPHER
Noémi Ottilia Szabo FASHIONEDITOR
Gaelle Bon
MODEL Solal Zaoui - 16 Paris
CASTING Rama Casting
Shirt and Trousers GUCCI - Hat MAISON MARGIELA - Belt ISABEL MARANT - Shoes ACNE STUDIOS
Total Look OFF-WHITE Opposite Page Sweater, Trousers and Hat LOEWE - Shoes ADIEU PARIS - Belt UNIFORME
Coat PRADA - Sweater HOLIDAY BOILEAU - Trousers OFF-WHITE - Shoes ACNE STUDIOS Opposite Page Jacket MAISON MARGIELA - Shorts DRIES VAN NOTEN - Shoes and Socks UNDERCOVER
Total Look CELINE Opposite Page Sweater AMI - Trousers and Belt UNIFORME - Hat LOEWE - Scarf ST YLIST ’ S OWN
Total Look OFF-WHITE Opposite Page Sweater AMI - Hat LOEWE - Scarf ST YLIST ’ S OWN
Coat RAF SIMONS - Trousers LEMAIRE - Shoes UNDERCOVER Opposite Page Total Look JIL SANDER
Coat PRADA - Sweater HOLIDAY BOILEAU - Belt UNIFORME Opposite Page Sweater BOT TEGA VENETA - Shirt LEMAIRE - Trousers PAUL SMITH Stylist Assistant Elyse Arnould Derosier
PHOTOGRAPHER
Sarah Blais Chiara Ficola FASHIONEDITOR
MODEL
HAIR
Aramish Mangi - Tomorrow Is Another Day
Adam Garland
MAKEUP
CASTING
Tiina Roivainen - Airport Agency
Sarah-Maria Booth
Jacket and Trousers LOUIS VUIT TON - Corset GIVENCHY
Gloves DIOR MEN Opposite Page Coat ANN DEMEULEMEESTER - Corset GIVENCHY - Trousers FENDI - Shoes and Belt CELINE
Jacket LOUIS VUIT TON Opposite Page Total Look ANN DEMEULEMEESTER
Total Look GUCCI - Shoes MARNI Opposite Page Shirt and Trousers SAINT LAURENT By ANTHONY VACCARELLO - Socks FALKE - Shoes MARNI
Yaowei wears Total Total Look Look GIVENCHY XANDER ZHOU Opposite Page Opposite MikitaPage wears Total Jacket, LookSweater DIOR MEN and Shirt - Shoes PRADA SAINT - Earrings LAURENT COUGH By ANTHONY IN VAIN VACCARELLO - Helmet ST YLIST ’ S OWN
Total Look DRIES VAN NOTEN
Jacket and Sweater MARNI - Trousers LEMAIRE - Brooch CELINE Opposite Page Total Look ANN DEMEULEMEESTER
Total Look CELINE Opposite Page Vest CELINE Photographer Assistant Soraya Sanini - Stylist Assistants Luca Aniello Migliaro and Veronika Mariani
PHOTOGRAPHER
Nicolò Parsenziani
MODEL
Cheikh Diakhate NoLogo MGMT
GROOMING
Luca Cianciolo Closeupmilano using EspressOh
FASHIONEDITOR
Matteo Greco
ART DIRECTOR Sara Ferraris
CASTING
Isadora Banaudi All Clothes Are By ONITSUKA TIGER FW 2020/21 Collection
Photographer Assistants Giovanni Rabaglio, Federico D’Amico and Francesco Bartoli Avveduti
PHOTOGRAPHER
Fang Xiaohuan FASHIONEDITOR
Kim Yuan
MODELS Mikita Krivelev - Freshlook Model Management Yaowei Ren - Paras Talent Management
MAKEUP Liu Li
HAIR Tang Tang
Mikita wears Trousers XANDER ZHOU - Gloves ST YLIST ’ S OWN
Mikita wears Total Look ALEXANDER McQUEEN Opposite Page Yaowei wears Dress and Trousers CHEN PENG - Earrings ST YLIST ’ S OWN
Yaowei wears Total Look XANDER ZHOU Opposite Page Mikita wears Jacket, Sweater and Shirt PRADA - Earrings COUGH IN VAIN - Helmet ST YLIST ’ S OWN
Yaowei wears Jacket CHEN PENG - Trousers ALEXANDER McQUEEN
Mikita wears Coat and Sweater JACQUES WEI - Shorts XANDER ZHOU - Boots PRADA - Earrings COUGH IN VAIN Opposite Page Mikita wears Top and Trousers 8ON8 - Sweater XANDER ZHOU - Boots PRADA
Mikita wears Trousers XANDER ZHOU - Boots PRADA - Gloves and Balaclava ST YLIST ’ S OWN
Mikita wears Inside Coat SEAN SUEN - Outside Coat FENG CHEN WANG - Boots PRADA - Scarf CHEN PENG - Necklace COUGH IN VAIN Balaclava and Gloves ST YLIST ’ S OWN Opposite Page Mikita wears Jacket, Sweater and Shirt PRADA - Earrings COUGH IN VAIN
Mikita wears Sweater ALEXANDER McQUEEN - Trousers XANDER ZHOU - Boots PRADA
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