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ISSUE 17 — SPRING/SUMMER 2020 THE POWER ISSUE
TheCorner.com
Photo Alexander Mourant
Although he’d grown up facing the cold weather and loneliness all by himself, he’d always hoped for someone to free him, taking some of that burden off his bony shoulders.
Images Courtesy of Douglas Mandry
Images Courtesy of Douglas Mandry
Images Courtesy of Douglas Mandry
To survive loneliness, he started picturing some of that winter landscape’s main elements taking human shape: that’s how a colourful puddle turned into a middle-aged homeless prostitute, or a decorated street lamp became an old hunchbacked man, dressed in a red scarf, a black hat and coat.
Anise, rose and cloves, that’s all he could smell in that
worlds he used to daydream about – worlds made of
old-fashioned room. As he laid on the floral bedspre-
leopards, coiled snakes, marquises and, of course,
ad, he put himself right back in the moment, recalling
gilded servants. In those drawings, he then recognised
the journey he’d embarked on: an empty train station,
some of the main features of the savior he’d always
a cheap deserted restaurant and, well, a guesthouse
fantasised about: exoticness, strength and braveness.
in a godforsaken part of Milan. On that very night, it
In fact, although he’d grown up facing the cold wea-
looked as if, all of a sudden, the world’s population had
ther and loneliness all by himself, he’d always hoped
silently disappeared, leaving no signs of life behind.
for someone to free him, taking some of that burden
In fact, when our protagonist approached his room’s
off his bony shoulders. A few moments later, he found
little window, a deafening silence thundered, taking
himself playing a different game. In fact, to survive
him by surprise (even if some may disregard such an
loneliness, he started picturing some of that winter
event, I’d rather see it as the omen of what happened
landscape’s main elements taking human shape: that’s
later that night, E.D.). As he ground his teeth because
how a colourful puddle turned into a middle-aged
of the cold air coming through the room’s window, the
homeless prostitute, or a decorated street lamp beca-
familiar taste of his blood mixed itself with a sense of
me an old hunchbacked man, dressed in a red scarf,
bittersweet nostalgia. Despite the shivers, he took a
a black hat and coat. That street lamp’s fiery red light
step forward and, as the window started fogging up,
eventually distracted him, taking his thoughtful mind
he did feel an urge to draw, on that misted glass, the
off all those imaginations. More specifically, it remin-
Images Courtesy of Douglas Mandry
Our very protagonist found the courage to confront himself for the first time in a while and, eventually, promised he wouldn’t give anyone power over himself ever again: his pounding heart was going to call the shots this time around, and all he needed to make such a decision was the loneliness he’d always tried to avoid.
ded him of a Sicilian tradition, according to which,
aware of the influence you have on your own happi-
on the night between the past year and the new one,
ness, your problems will follow you everywhere you
anyone can draw from a source of archaic power, by
go. Our protagonist went downstairs, walked through
setting fire to new-found or long-possessed wooden
the guest house’s doorstep and quickly reached the
objects (Oddly enough, when it comes to destiny,
Porta Venezia neighborhood. He ran out of breath
men and women are inclined to rely on some unk-
and stopped to have a look around: the burned out
nown being, as if that’s enough to make one’s fortune,
Christmas lights, the bar where the Negroni Sba-
E.D.). Our very protagonist was eloquently standing,
gliato was first created, the slightly faded posters of
in his gentlemanlike garments, by the room’s little
a Ferzan Ozpetek film were surrounding him. That’s
window, impatiently waiting for someone to break
the point where our very protagonist found the cou-
in and, finally, rescue him. Stripped of his own fe-
rage to confront himself for the first time in a while
elings, he’d counted on a change of scenery to find
and, eventually, promised he wouldn’t give anyone
love again, to make himself lovable. Needless to say,
power over himself ever again: his pounding heart
he moved to a new city, but things were not working
was going to call the shots this time around, and all
out: Milan and its foggy winter gave him a rather
he needed to make such a decision was the loneli-
cold welcome, making this young man feel silly for
ness he’d always tried to avoid. Even today, when
having relied on such a superficial aspect to solve all
he smells that cloying fragrance, the memory of the
of his long-standing problems, a lifetime of excuses
most awaited night ever comes back, and it couldn’t
and counterproductive habits. All things considered,
be any other way. He now has what it takes to believe
can you blame him? At some point, we all think we’d
in himself, in his power to create his own destiny.
be better off somewhere else, maybe in a different era. What’s hard to realise is that, unless you become
Essay by
Marco Martello
EDITOR IN CHIEF
FASHION COORDINATOR
CONTRIBUTING STYLISTS
AND FASHION DIRECTOR
Simona Dell’Unto
Alberto Vegue - Eus Cantó - Jack Collins
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EDITOR
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Distributed in Italy by Messinter S.p.A. - Worldwide Distribution by Export Press sas 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)
Photographer Yannick Schuette Fashion Editor Simon Winkelmüeller Model David Prince At 16 Paris Management Total Look Saint Laurent By Anthony Vaccarello
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Photographer Leonardo Veloce Fashion Editor Matteo Greco Model Luca Lemaire At Hakim Model Management Total Look Givenchy
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ISSUE 17 — SPRING/SUMMER 2020 THE POWER ISSUE
ISSUE 17 — SPRING/SUMMER 2020 THE POWER ISSUE
Photographer
Ben Parks Sam Ranger Fashion Editor
MODELS Lily Buckley - Anti Agency Eduards Kraule - Wilhelmina London Henry Humphreys and Vivien Lawson - Premier London MAKEUP Thomasin Waite - Julian Watson Agency HAIR Daniel Martin - Bryant Artists CASTING Sarah-Maria Booth
Lily wears Jacket NATIONAL THEATRE COSTUME HIRE - Trousers CHALAYAN - Shoes ANDREAS KRONTHALER for VIVIENNE WESTWOOD
Lily wears Waistcoat GIORGIO ARMANI - Top PRONOUNCE - Hat NATIONAL THEATRE COSTUME HIRE Opposite Page Vivien wears Total Look ACNE STUDIOS - Boots HOLLAND & HOLLAND - Necklace PEBBLE LONDON Henry wears Total Look GIVENCHY
Vivien wears Coat and T-Shirt BALENCIAGA Opposite Page Henry wears Jumper VERSACE - Hat HURTENCE - Neckerchief and Bag HOLLAND & HOLLAND Eduards wears Jacket, Jumper and T-Shirt VERSACE - Hat FENG CHEN WANG - Neckerchief HOLLAND & HOLLAND
Lily wears Total Look PRADA Opposite Page Eduards wears Quilted Jacket ISABEL MARANT - Hooded Knit VALENTINO
Lily wears Waistcoat and Trousers GIORGIO ARMANI - Top PRONOUNCE - Shoes LANVIN - Hat NATIONAL THEATRE COSTUME HIRE Opposite Page Vivien and Eduards wear Total Look CRAIG GREEN
Henry wears Cardigan and Shirt LANVIN - Jacket KENZO - Trousers POLO RALPH LAUREN - Shoes GIORGIO ARMANI - Hat HURTENCE Opposite Page Vivien wears Hooded Knit LANVIN
Vivien wears Suit GIORGIO ARMANI - Jumper NATIONAL THEATRE COSTUME HIRE - Hat HURTENCE Henry wears Total Look JIL SANDER - Chain NATIONAL THEATRE COSTUME HIRE Eduards wears Total Look FENDI - Hat NATIONAL THEATRE COSTUME HIRE
Vivien wears Cape CHARLES JEFFREY LOVERBOY - Tracksuit Bottoms ADIDAS - Boots and Headpiece NATIONAL THEATRE COSTUME HIRE Opposite Page Lily wears Total Look ROCHAS - Hat HURTENCE - Neckpiece NATIONAL THEATRE COSTUME HIRE
Eduards wears Black Jacket GIORGIO ARMANI - Jacket and Shirt MARNI - Hat and Belt NATIONAL THEATRE COSTUME HIRE Necklace PEBBLE LONDON Opposite Page Henry wears Total Look GUCCI - Necklace NATIONAL THEATRE COSTUME HIRE Photographer Assistant Drew Wheeler - Stylist Assistant Jessica Sherry - Makeup Assistant Chie Fujimoto - Hair Assistant Reiss Harris
Photographer
Hyunwoo Min Fashion Editor
Seongbeom Kim MODELS Bongwoo Kim - Aile Company Model Donghyun Kim - CREW Model Management
HAIR Gabe Sin ART DIRECTOR Jaemin Kim
MAKEUP Somi Jang
Donghyun wears Total Look ACNE STUDIOS - Necklace, Earring and Shoes GUCCI - Socks STYLIST’S OWN
Donghyun and Bongwoo wear Trousers ADONIS PROJECT Opposite Page Donghyun wears Knit and Shirt ACNE STUDIOS - Earring and Necklace GUCCI
Bongwoo wears Blazer and Shorts MÜNN - Shoes JUUN.J - Socks STYLIST’S OWN
Bongwoo and Donghyun wear Total Look GOOMHEO - Socks COS Opposite Page Bongwoo wears Blazer and Shorts BLINDNESS - Shirt, Shoes and Socks STYLIST’S OWN
Donghyun wears Total Look JUUN.J Opposite Page Donghyun and Bongwoo wear Trousers ADONIS PROJECT
Up Bongwoo wears Blazer and Shorts MÜNN - Shoes JUUN.J - Socks STYLIST’S OWN / Below Donghyun wears Total Look JUUN.J Opposite Page Bongwoo wears Blazer and Shorts BLINDNESS - Shirt, Shoes and Socks STYLIST’S OWN
Bongwoo wears Total Look GUCCI Opposite Page Donghyun and Bongwoo wear Trousers ADONIS PROJECT Photographer Assistant Youhyeon Lee - Stylist Assistant Jisoo Kim
Photographer
Guen Fiore Fashion Editor
Matteo Greco
MODELS Gabriel Demaj and Maxim Stromeyer Elite Model Management Louis Philpot-Dodds Independent Model Management
HAIR Luigi Morino - Closeupmilano CASTING Isadora Banaudi
MAKEUP Giorgia Savaglio - Closeupmilano
Gabriel wears Shirt ERMENEGILDO ZEGNA - Shorts DIOR MEN / Louis wears Tank Top DIOR MEN - Necklace VALENTINO
Gabriel wears Total Look MARNI Opposite Page Louis wears Shirt DIOR MEN
Louis wears Shirt and Necklace JIL SANDER / Maxim wears Shirt and Wallet With Neck Strap VALENTINO Opposite Page Gabriel wears Jumper FENDI - Swimsuit FILA
Louis wears Total Look ERMENEGILDO ZEGNA - Glasses CELINE Opposite Page Gabriel wears Total Look PRADA
Maxim wears Total Look FENDI - Necklace MODEL’S OWN
Maxim wears Total Look FILA Opposite Page Gabriel wears Trousers PAUL SMITH / Louis wears Tank Top NIKE - Trousers BOSS HUGO BOSS / Maxim wears Total Look MSGM
Gabriel wears Jumper FENDI Opposite Page Gabriel wears Trousers PAUL SMITH
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Photographer ANTON RENBORG Fashion Editor GAËLLE BON
Model FARHAN ALAM - Select Model Management Grooming MAUD EIGENHEER Open Talent Paris using Oribe Haircare Casting RAMA CASTING
All Clothes Are By LOUIS VUITTON SS 2020 Collection
Photographer
Michele Di Dio Fashion Editor
Mine Uludag
MODELS Theo Cheron and Denis Ducos IMG Model Goya Roche and Leonce Goutet New Madison Models Norton Carr - Success Models
MAKEUP Amélie Moutia - Open Talent Paris HAIR Shuhei Nishimura - Open Talent Paris CASTING Isadora Banaudi
Goya wears Trousers VIVIENNE WESTWOOD
Leonce wears Top DRIES VAN NOTEN - Trousers VIVIENNE WESTWOOD - Shoes MISSONI / Denis wears Total Look GIVENCHY Theo wears Total Look KENZO / Goya wears Total Look DRIES VAN NOTEN / Norton wears Total Look DIOR MEN Opposite Page Leonce wears Total Look MARNI - Shoes MISSONI
Norton wears Total Look BALENCIAGA Opposite Page Norton wears Total Look DIOR MEN / Denis wears Total Look GIVENCHY
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
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Leonce wears Tank Top DRIES VAN NOTEN - Trousers VIVIENNE WESTWOOD - Shoes MISSONI
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All Clothes Are By BOTTEGA VENETA SS 2020 Collection
Photographer ANDY MASSACCESI Fashion Editor MATTEO GRECO
Art Director SARA FERRARIS Model TOBÍAS DIONISI Boom The Agency
Grooming GIUSEPPE LORUSSO Closeupmilano Casting ISADORA BANAUDI
Photographer Assistant Alessio Keilty - Stylist Assistant Francesca Albergo
Photographer
Yannick Schuette Fashion Editor
Simon Winkelmüller MODEL David Prince - 16 Paris Management
CASTING Roxane Dia
GROOMING Sabine Reiter using Less is More organic haircare and M.A.C. Cosmetics
PRODUCTION Sammlung Studio
Coat JIL SANDER - Trousers MAISON MARGIELA
Coat MAISON MARGIELA - Hat MARYLINE PERROD
Coat and Shirt ANN DEMEULEMEESTER – Rings EMRE OSMANLAR, SYLVIE CORBELIN, VANESSA DE JAEGHER all at MAD LORDS
Total Look RAF SIMONS
Total Look GUCCI
Suit MSGM - Bodysuit MAISON MARGIELA Opposite Page Blazer 1017 ALYX 9SM - Shorts BOTTEGA VENETA - Scarf RICHERT BEIL - Shoes BALENCIAGA
Coat ACNE STUDIOS - Sandals ARTHUR ARBESSER Opposite Page Total Look SAINT LAURENT By ANTHONY VACCARELLO
Jumper BOTTEGA VENETA Opposite Page Jumper ARTHUR AVELLANO
Nude Bodysuit MAISON MARGIELA - Black Bodysuit RICHERT BEIL - Trousers and Chain Piece CHRISTOPH RUMPF
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ALAN wears Jumper and Sunglasses ACNE STUDIOS - Shirt and Trousers DRIES VAN SuitNOTEN MSGM--Moccasins Bodysuit MAISON GUCCI MARGIELA ALAN wears Jumper LOUIS VUITTON Opposite Page SOULMANE wears Total Opposite Look JIL Page SANDER Cape and- Socks BlazerFALKE SEAN SUEN - Sandals - Trousers ADIEU MAISON MARGIELA - Sandals SAINT LAURENT By ANTHONY VACCARELLO
Cape and Blazer SEAN SUEN
Coat JIL SANDER - Trousers MAISON MARGIELA Opposite Page Coat and Trousers BALENCIAGA - Bodysuit RICHERT BEIL - Shoes 1017 ALYX 9SM
Francesco Ragazzi On a rainy afternoon, I met with one of the most talked-about designers in today’s fashion. His name is Francesco Ragazzi, and he’s not only the artistic director of Italian luxury brand Moncler but also the founder and creative director of Palm Angels, a streetwear label worn by the likes of American rappers A$AP Rocky and Pharrell Williams. As the Palm Angels flagship store was celebrating its very first anniversary, we recalled the first of the many steps Francesco has taken over the years and even talked about the ones he plans on taking in order to make his creation a lifestyle brand. Keep on reading to find out all there’s to know about this young man, who’s been sending L.A.’s skateboarding culture down the catwalk for more than four years now. INTERVIEW
Marco Martello PHOTOGRAPHY
Valentin Hennequin
I love music, it’s the world that excites me the most. In fact, I’ve always wanted to work on something music-related. Now that I think about it, I worked as artistic director on the Swedish House Mafia’s reunion show, but I don’t consider this actual work, as I had a lot of fun doing it. Anyhow, I love music so much it could be a medium to further express myself. For sure, I’ve already thought about taking Palm Angels into the music world. I don’t have much time on my hands, but it’s something I’d definitely like to do. First things first, who’s Francesco Ragazzi? How would you explain Palm Angels and the project behind it to those who still don’t know them?
Logically this project started with a point of view, that’s my vision of American culture. I’m Italian, so my brand is about the U.S. as it can be seen by an ‘outsider’ like me. This is what’s behind Palm Angels. As to myself, I’d say I’m a creative director. In fact, I think it’s really important to know a little about everything, without focusing on a specific matter. This way, you’re able to collaborate with many different professionals, using as many tools.
First of all, I did it for luck, as Virgil Abloh opened the first Off-White shop in Hong Kong (Palm Angels and Off-White are both a part of New Guards Group, E.D.). Obviously it’s important for Palm Angels to have a strong presence in bustling and exciting cities that represent the future of the world, and Hong Kong is one of those cities. In fact, I’ve always thought of Hong Kong as the Asian New York City. Surely, the next Palm Angels store will open its doors in Los Angeles! Let’s take a step back. Even before launching your brand, you were creative director at Moncler. Has your experience in the brand of the rooster been a factor in
What were your dreams and ambitions when you
the creation of Palm Angels?
launched your brand?
Well, I first launched a photography book (early on in his career, Francesco wanted to become a photographer, E.D.). It was called ‘Palm Angels’, and it featured a foreword by American rapper, songwriter and record producer Pharrell Williams and large-format photographs capturing L.A.’s skateboarders. So, the ambition was for me to build something that would go beyond those images, creating a proper aesthetic and, on a more practical level, a fashion brand. In fact, I’ve always dreamt of working on a project of my own, built around my vision.
Yes, indeed. It’s helped me a lot, it’s given me a chance to understand how to build a company and make it grow, not only from a creative point of view but also from the point of view of the mindset you need to run a company. What I’ve learned is that it’s really important to have a vision and to know how to develop it, without having too many fears and, of course, taking risks. Even if you ironised the collaborations between fashion brands with your ‘Palm Angels x Palm Angels’ capsule collection, you worked with Under Armour on a series of limited edition items. I heard your next collaboration is
That being said, the Palm Angels flagship store is about
going to be with British shoe brand Clarks…
to celebrate its first anniversary. It’s an important achievement, and I want to congratulate you on this! Why did you choose Hong Kong as the first place where to increase the presence of the brand? Was it a purely strategic move?
To me, it’s important to collaborate with iconic brands, the brands that have a very strong core product. In fact, Clarks is an icon for me, as it can be Moncler. My aim is always to reinterpret a classic, being consistent with my creative
What I take after my parents is curiosity, being curious about a bit of everything. I think it’s a consequence of the artistic scene I grew up in. My parents have always worked in fashion, and so I’ve always been curious about such a world. To be honest with you, I don’t think I would’ve been able to work in a different field. Of course I have other passions, but in the end all I know is linked to fashion. Unfortunately, many people don’t know their goals today. They do think it’s all about money and success, but that’s nothing more than a consequence.
vision. By the way, it’s hard to find a brand like Moncler to establish an incessant collaboration with, as it was one of the first brands to come up with such a ‘format’. That being said, there’s more than one brand I’d like to work alongside in the near future…
said: ‘I’ve learnt everything from experience, not from
Let’s go back to Moncler. On November 7, the ‘House of
To me, doing things other companies would be afraid of doing because of what people say is very important. In fact, I’ve always tried to create a sense of excitement, following my gut. Anyhow, I think experience is what makes a difference in the long run: if you have an intuition, but you don’t have background knowledge, you won’t be able to develop it.
Genius’ temporary store opened its doors in Milan’s Galleria Vittorio Emanuele II. Why did you choose a performance by Italian contemporary artist Vanessa Beecroft for the opening event of this particular space?
I designed ‘House of Genius’ as a creative hub, rather than your average shop. In fact, I wanted to give our customers a chance to attend workshops and masterclasses. The aforementioned performance was just the first part of a long series of creative meetings, it did introduce the artistic nature of a space that’s meant to be a container for many different forms of expression. Francesco, what do you consider the appeal of streetwear to consist of? No doubt, it’s a revolution, a proper revolution…
Sadly enough, the word ‘streetwear’ is very inflated nowadays, as much as the word ‘luxury’ was two or three years ago. For me, it’s our culture that’s changed, leading us all to dress ourselves in a different way. We should be talking of ‘casualization’ instead, as people want to be comfortable. In fact, it’s now harder to see people wear a tie, a suit or a pair of elegant shoes in the street. The world has definitely changed and, as a result, streetwear has gone high-end. By the way, streetwear may be a trend, but casualization isn’t! For The Greatest #16 - The Transformation Issue, I talked with Stone Island’s Carlo Rivetti, and he told me: ‘Speaking of testimonials, I don’t hate that concept, but
studying. The biggest lesson? The one on the power of your own instinct. Not all we’ve done has worked out or has been perfect, but it’s a part of life’. How much has the power Benini refers to counted in your career?
How about social networks? Do you think you’d have reached your goals without them?
Social networks are fundamental, they mean everything to me. That being said, I think you also have to physically be out there. In fact, I don’t believe that being on social media is enough anymore: it must be a consequence of something else. You know what? Oddly enough, I think we should almost certainly start getting off social networks, in order to be more present on a physical level. In more than one occasion, you’ve said you want to create a Palm Angels lifestyle. What steps do you plan on taking in this direction?
First of all, I have to say I’ve always been inspired by Ralph Lauren and Tommy Hilfiger’s lifestyle brands. Anyhow, in a few days, I’ll be launching a collaboration with Miami’s five star hotel The Setai: the guests of this hotel will be provided with an exclusive Palm Angels x The Setai kit. This project is the first of many lifestyle collaborations I’d like to launch. At the moment, the fields that I find the most interesting are dining and entertainment.
I have ‘natural’ testimonials, the people on the street. What I really like is that, when someone famous and
Let’s end on a high note. Can you remember where, and
popular is dressed in Stone Island, nobody thinks we
when, you actually met someone dressed in Palm Angels
paid that celebrity to wear one of our garments. It’s a
for the first time?
choice we made, because what you give away has no value and some of those celebrities receive tons and tons of boxes full of stuff: I want those who own and wear my garments to love them’. Do you agree with Mr. Rivetti on this matter?
To be honest with you, I agree with him. Besides the people on the street, my testimonials are celebrities who, thank goodness, have been following the brand since day one. It’s a really important aspect of my work. In fact, when I design a 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. Luca Benini, founder of streetwear institution Slam Jam,
Yes, of course. It was in Hong Kong, about five years ago. However, the city where it strikes me the most to see the people in the street wear my brand is Milan. Perhaps, it’s because that’s where I grew up…
Spencer Phipps The idea of a strong community made of people linked together by a common spirit. Nature and vibes, meanings and messages are the ingredients behind the work of Spencer Phipps. A designer who’s devoted to research and his ‘Educational Clothing’, a mission more than anything else. His creations caught the attention of many after a few years within the fashion system with his independent label. His American origins are a fundamental part of the story, as well as the idea of creating a network of information and consciousness. A new way of expressing creativity through garments could sound repetitive nowadays, but with Spencer Phipps and the great attitude of his shows the final goal is easy to be reached. An easy-going soul and such a honest mind is the stream that’s conquering the new wave of fashion. INTERVIEW
Simona Dell’Unto PHOTOGRAPHY
Leonardo Veloce
Traveling is about stepping out of your comfort zone. It’s a powerful experience, since you’re going to challenge yourself. What surrounds us is what inspires me the most: it could be a landscape, an issue, a person or a thought. It’s important to look around in a certain way. When you explore the world and society, you’re actually exploring yourself more than you may think. You can discover unexpected things, as well as rediscover who you really are.
I’d like to start with something linked with your roots.
you come up with the idea of this travel journal?
You’re absolutely connected with your American origins and background. I read that you realised how American you are while you were far away from your homeland. So, can we say that you’ve discovered the strength of your roots step by step or is it a different story?
I’d say that you don’t notice the strength of your roots until you’re surrounded by people who are completely different from you. It was really like that when I moved to Europe, I became much more aware of what it means to be American in 2020. For instance, when you’re in a room full of people whose mother tongue is not English, you have to face it and find a way to understand and be understood. However it’s a matter of culture for sure, and I’d say that I recognised my roots while I wasn’t in my own country. When you’re at ‘home’, you tend to take things for granted, you don’t recognise certain things’ beauty or non-beauty. It’s probably a matter of comparison too, but I’d say that I’ve enjoyed rediscovering how American I am. Is there a touch of nostalgia in your work?
I’ve been very bad at updating it (Laughs, E.D.). However, it surely is a part of the project’s soul. This journal is supposed to be a community project. To me, it’s like drawing a world map of where things have gone. It’s nice to see how people wear and live in my garments all around the world and what they give back to them. It’s even nice to see how the clothes look, surrounded by different locations. I’d say traveling is, somehow, a matter of stepping out of your comfort zone and getting in touch with a new world, in order to recognise and understand yourself. Do you agree on this?
Traveling is definitely like that, you have to understand a lot of feelings, a lot of differences and, actually, by doing so you’re going to understand yourself a little bit more. You can find out that you’re brave or not so brave, that you’re more or less patient than you thought. In the end, after every travel, whether it’s a short or a long one, you go back home and you’re different somehow.
Yes, definitely. It’s funny: as I get older, I find myself being more and more nostalgic of my youth, my time in California and all the things that I probably wasn’t paying attention to while I was in the U.S.. It’s fascinating how slowly all those things from the past come out year after year. Yes, we could call it nostalgia somehow.
In 2020, we have so many sources of information that we
On your website, there’s a section called ‘TRAVEL
I think we’ll never be able to replace the real thing with a digital version. People are more informed, they have better knowledge of the entire world today and decide which kind of adventure they want to choose for themselves. You can make a lot of research about what you’re obsessed with
JOURNAL’. To be honest with you, it’s amazing. Aside from the beautiful pictures, I really like the fact that you can find it underneath the info section of your website, it seems to be a part of the whole thing’s DNA. How did
could travel from our sofa by scrolling down on a smartphone. On account of this, do you think that people are becoming quite lazy, or are they becoming more and more curious about standing up from that sofa and living something in real life?
Without attitude we’d loose the point, since clothing is just a bunch of fabrics. The life you live in those garments and the reason why you chose them rather than others is the warm touch and the most interesting thing about fashion. and decide to go to a specific spot on the other side of the planet, in order to experience and visit it. Through social media, for instance, you can even find guides or people who live there and could take you around. I mean, these things sound quite easy today, but if we recall how it used to be, it’s amazing how powerful these tools are.
more than just our physical self, we have so much room for our spirit. The way you present yourself to the world and your attitude is more linked to your inner spirit than what we see from the outside. How we live our body is a result of how we conceive it and see things. So, how you want to wear things and make yourself feel comfortable in them is the fascinating part. That’s why I love castings.
Regarding your ‘Educational Clothing’, I made a connection with Katharine Hamnett and the way she used cloth-
So, tell me a little bit more about your castings.
ing as a vehicle of communication. As a communicator, do you feel more like an educator or a protester?
Maybe, an educator. The process we follow to make each piece is much more like the way someone would go about writing a paper for school. We spend a lot of time researching, not only about the aesthetic of the clothes but also about the message behind them. I spend a lot of time studying non visual languages and reading a lot of different things related to whatever the theme of that season’s collection is. We always ask ourselves: ‘Which is the logic and the reason why we want to go through it?’.
We look for real people. I don’t like to call it just ‘street casting’, the thing is that we look for people that could be a part of the community we’re working on. We found mountain guys from Chamonix and had them walk in the show, as well as people on the streets: we select cool and nice guys you’d like to be a friend of. They can be out or far from the stereotyped idea of what a model should look like, but the spirit is there and this is the main thing. It’s fascinating how, generally speaking, the word ‘power’ has an immediate feeling: it gives you a bad vibe, probably something linked with abuse and the idea of
Together with the clothing, the names of your four col-
being a victim of that power. On the other hand, if you
lections are interesting to me. My favorite one is prob-
have the power to do or not to do something, for me it
ably ‘NATURE LOVES COURAGE’, from Spring-Sum-
has a lot to do with responsibility as well. I’d say that, In
mer 2019. Do you recall an act of braveness that really
2020, power is a matter of caring and looking around with
inspired you?
respectful eyes towards people and what surrounds us. What’s your own idea of power?
Wow, well, there are so many. I’d say there are tons of brave acts: we have Greta Thunberg today, she’s doing an amazing thing for our planet and society. However, there’s also smaller acts that really inspire me. For instance, the braveness of a person who goes on a specific trip, challenging boundaries and personal limits. Probably, as to braveness, what really moves me is the act of stepping out of the comfort zone. Your collections always have a brutal touch about them. You put people directly in front of an issue. At the same time I can even highlight a delicate touch, a gentle attitude. It’s quite a great compromise to me. How important is attitude to you?
Attitude is everything, at the end of the day clothing is just some fabrics stitched together. The way people wear it, how they put their life in it makes the garment alive. We’re
At first glance power is all about doing things over someone else, there’s always a person in charge and then, the others. I think that’s an oversimplified idea of power. In 2020, it’s more personal and power comes from you as an individual. The decisions you make, the things you choose to bring into your life or even sort of refuse. Individually, we’re much more powerful today than we’ve ever been before.
Temples Being a member of a band is a matter of connections. It must be a connection with sounds and visions, but first of all it must be a human connection. Being connected with your colleagues as well as the audience. The energy you give to the people is the fuel that’s going to keep alive the spiritual connection and power of a band. A band is a group of individuals searching for unity and a unique point of view. Many said that they’re psychedelic, others that they’re one of the best British contemporary bands, for sure Temples are one-of-a-kind in their spirit. It’s amazing how they sound, a fusion of new sounds smashed together with intriguing words. Their look is amazing, so glam rock and British. It’s even more amazing how everything collides together on stage. INTERVIEW
Simona Dell’Unto PHOTOGRAPHY
Nicolò Parsenziani
Everything’s linked with people, starting from our experiences, through being in a group and ending on a stage. Being on a stage is the ultimate experience, because of the connection that we establish with the audience. It’s magical: without what you give and what you take back, it wouldn’t be the same. Music is a complex art form that mixes together different peculiarities. It’s astonishing how many things art can do. With musicians, I’m always quite curious to know some-
How would you describe your own idea of power?
thing about their audience. Do you have a specific city or country that generally gives you back quite a lot?
An audience is one very important aspect for every artist. We were in Mexico recently and, yes, we had an amazing audience there. A lot of Spanish countries tend to give us back a lot in terms of warmness and feelings. They’re receptive and energetic. Definitely, Mexico and Portugal are the best.
Self-control is the most powerful thing. Obviously, there’s another side of the coin too and, unfortunately, people tend to use power in the wrong way. However, it’s just a matter of discovering the different kinds of power we all have. While I was thinking about this double meaning, I made a link with your song ‘Context’ (from ‘Hot Motion’). ‘When you put it in context, it makes sense’ really resonates with me, since I really care about words. To me, the idea
Would you define being on a stage a powerful experience
of context is made by what surrounds us. A specific word
or is it somewhat different?
told to someone in a specific way could be a weapon. Do you recall a bad or good critique, or a comment you
For sure, there’s power in music. Music is crazy, it can do a lot of things that other aspects can’t do. In a lot of art forms, there’s power: they might have the power to move people, as well as make people think or even hate what you do. What’s important is to create a reaction. In the end, it’s important when people have a point of view and feeling about something. Power is a tricky subject, it can have a lot of meanings, but I’d say that it can be interesting, as long as you don’t misuse that power in a way that you become egomaniac and think people are beneath you. That’s what happened in the political system, but music is a different thing. It’s a powerful moment for us on stage. When we do a sound check, there’s no feeling of power. What brings us power is having an audience that receives the music. So, the powerful thing about the show is the audience. Probably, it’s about accepting and absorbing the power of other people in a genuine way, as an energy or stream.
received that literally stuck in your mind?
To be honest with you, there’s quite a few. Regarding things taken out from a context, probably there are some quotes used by journalists to make the piece catchy. You know, those extracts used to introduce a piece. For instance, I recall one of those saying ‘We took loads of drugs’. Actually, the whole thing was a parody of that concept, but written like that it sounds completely different. It’s annoying when it happens, but journalism is even made by creating snapshots to make people read the article. There’s a comedian in England who fascinates me and says ‘Can you have context-free words?’ I’m not sure, but I don’t think you can. ‘See the boredom on their faces / No one ever cared as much as you do / Everybody has a story / And their story means nothing to you’. ‘It’s all coming out’ (from ‘Hot Motion’) is definitely about liberation and how we have
In ‘Step Down’ (from ‘Hot Motion’), you’ve analysed the
to go straight to the point setting our own pace, that’s
idea of being in a position of power and relinquishing it,
obviously made by our story, our background. Do you
as the only way to save everybody else. For me, the feel-
often see boredom on their faces?
ing of being in power can have two meanings: it depends if you’re using that power for yourself or someone else.
Lots of people are bored all the time. Sometimes, it’s just
Perception is everything and, sometimes, it’s the key. The more you look outside, the more you get the inside, the essence of yourself. Music is a great vehicle to analyse and exorcise that. You can do it with these amazing miscellaneous between lyrics, sound and performance, and obviously you’re going to do it even by looking at the stream of energy from the people in front of the stage.
a matter of facial features (Laughs, E.D.). Other times, it’s definitely caused by a feeling. However, that song is about prospective and how things look different from the outside rather than the inside. It’s not about an audience, it’s more about an introspective idea and how things could or couldn’t look. It’s a matter of how you want to see things in the end: everything can change depending on the point of view, or how you want to see it. I tend to not judge the boredom that can appear on their faces.
an artist. So the aspect of myths, the mystery surrounding music, doesn’t exist anymore, or probably it’s not the same anymore. The amount of exposure we see into people’s lives now has blinded us, as a society, to understand what’s real and what’s not. On the other hand, things like social media are obviously beneficial as well, because you can reach more people and, maybe, in the end you can establish a deeper connection with music, but certainly it spoils the whole aura a bit.
‘You’re either on something’ (from ‘Hot Motion’) is
You’ve got personal style, an attitude. Attitude is
so human as a song, because it gives out the idea that
everything when it comes to aesthetic and art. Style is
everyone has his own way of being up or down for some-
definitely subjective, and it’s impossible to be explained.
thing. Actually, to me, it also gives out the message that
Probably, that’s the fascinating part. I’d like to know
we should give to others and their actions or no actions
what the word ‘aesthetic’ means to you and how impor-
the right value. With that said, is it easy for you to have a
tant it’s within your work.
touch of healthy carelessness?
It’s a balancing act of when to be carefree and what to be obsessed with. That song is about social awkwardness. To be even more precise, it’s about being jealous of people that only seem to be carefree. I’m sure nobody is, probably lots of people put up a front. You can’t lay out everything on the table, all of us must have a filter. Somehow you can’t be invasive, you can’t lay everything down. It’s a matter of being able to face others with the right touch, since we all have to respect everyone at the end of the day. To me ‘Hot Motion’, your latest album, is a deep dive into human relationships, with all the ups and downs. Do you think the idea of a group and what it means in terms of belonging to something has changed over time?
For us, it’s a personal connection: being an artist and feeling the responsibility to be connected with your audience. People are naturally invasive nowadays, through social media you can see everything that goes on behind the scenes of
As far as the album cover goes, the artworks, typefaces, colours used, everything that aesthetic could mean is so important. It even happens to cross over on how we dress as well. I don’t see how you can really be picky about an album cover and then just do not have a certain style in clothing. We all would like to truly believe that we don’t think about fashion, it’s such an ambiguous term, but we’re linked with it for sure. I prefer style as a word, but aesthetic is fundamental in every art form. Probably music, as an art, is even more complex. As a musician, you must have poetry, melody, attitude and beauty all mixed together.
Charlie Charles His empire is invisible, and it’s an empire where music is the only ruler. Charlie Charles is the music producer who creates the best beat, making it the manifesto of a generation that brings with itself the value of the past and the burden of an uncertain future. Being good at what you do isn’t enough to be able to do what you want, you have to believe in yourself, and Charlie did it. He gave to his music a different value and new meanings. He did that without showing himself off. His music, that he defines as ‘abstract art’, is the most current example of how you can still make your passion the driving force in your life. INTERVIEW
Giovanni Garofalo PHOTOGRAPHY
Eugenio Intini
How did Paolo Alberto Monachetti become music producer Charlie Charles?
I started for fun. I played with music, because I didn’t think it could turn into a job. So, my first experience with music wasn’t linked to what Paolo Alberto would’ve become. Back then, I was having fun and feeling good. So, I dropped out of school to work and buy as many instruments as possible. In fact, I started working in a bar and kept on experimenting with musical languages. The day ‘Panette’ came out, I quit my bartending job. Probably, in that moment I realised something had changed: the track was cool and Paolo Alberto had turned into Charlie Charles.
I think it’s a matter of taste, a matter of choices. Thanks to them, my stylistic hallmark shows through all my works, but I wouldn’t like it to be like this forever.
Why is that?
Well, it’d be boring and it’d bore me. It’s important to change even the quality of being recognisable. As I change the kind of productions I do, I want the mood I give to my productions to change as well.
Your climb up the ladder of success was a very fast one. How do you deal with all the work and notoriety? Charlie Charles is the first to have brought Italian trap music in Spotify’s Global Top 100 chart. How did Charlie manage, together with Sfera Ebbasta, to take Italian trap music around the world?
It’s the result of the cohesion between Sfera Ebbasta and I.
I try not to deal with all of that, I’ve always preferred a notoriety that isn’t excessive. I don’t deprive myself of any freedom, and notoriety is, just like success, a dynamic we can’t manage. I don’t like to go clubbing or show myself off, and that’s because I’m not interested in coming across as a celebrity: I prefer to put my work and music forward.
Do you think it happened by chance? When you’re done with a beat and finish a project, you
It’s never a matter of chance. I’m the kind of guy who works on a track until he thinks it’s perfect. So it’s not a matter of chance, but skills and intuition. It took me years to get where I’m now, always doing research. As I’ve grown up and changed, my sound has evolved as well, also thanks to all the collaborations. The experiences I’ve lived have led me to express myself in a specific way, take risks and make different choices. I worked to understand how to reach my goals, and I eventually got there.
feel satisfied, because you just reached an image you had inside. What do you want to tell through your music?
It’s hard to explain it, as my art is abstract. I’m not a singer who manages to share his thoughts, explaining them in lyrics. For sure it’s the result of the musical references I’ve been influenced by along the journey, but it’s also made of experiences, because when I’m done with a beat I always hope that I managed to convey the sensitivity that’s behind that work and, of course, inside of me.
For sure, what strikes me and, of course, makes me feel excited about sitting in front of you is your work, suc-
You come from Milan’s province, Settimo Milanese, a
cess and character as well. You gave a new meaning to
village like many others. Do you think the ‘hunger’ that’s
the role of the producer. In 2020 a producer doesn’t just
locked inside provinces has influenced your creative
stand ‘behind’ a song anymore, they’re more and more
vision? Does your music create mental images that tell
acclaimed. What do you think about this evolution?
something about the place you come from?
Probably that’s an accident, one of the few accidents. Social networks have played a fundamental role. In fact, being so present and close to the audience has brought a new definition of ‘producer’. Nowadays, we need to recognise ourselves in others. Probably many didn’t even know what my job is about, but social networks have helped in this and have also made people aware of the fact that you can start from zero, believe in your passion and be able to do what you feel like doing.
I’m very linked to my village. My family still lives here, and I grew up on this territory. I even decided to build my studio in Settimo Milanese. I tried to live in Milan, but a city life isn’t for me. Here, in the province, I have more space and privacy as well. I don’t think it’s important for an artist to live in a city: what really matters is being able to get the world’s influences wherever you find yourself.
As you’ve always declared, you produce music for your friends. Is it a declaration of artistic freedom? Why did When I listen to Sfera Ebbasta or Francesca Michielin’s
you make such a choice?
songs, I recognise your signature sound. How do you manage to preserve such a strong artistic identity, even though you produce music for artists who are so different from each other?
At first, it was like that. I wasn’t interested in working for or with other people. Collaborating with my friends was enough for me, I was satisfied. After a while I started feeling like it wasn’t enough anymore, and I built new relation-
My notoriety stays in the shadow, and I prefer it over the more striking one. I think it’s tailor-made for me, because it reflects my personality. I avoid clubs and to be noticed in public, but I don’t deprive myself of my own freedom. I like it this way. I’m disinterested in the glory, the acclamations that overlook my music.
ships somehow. That’s what happened with Mahmood, Jovanotti, Marracash and many others.
When you wake up and think about Paolo Alberto Monachetti, are you satisfied with what you’ve done and continue to do?
You started from zero, and when you start from zero, you can aim to one, just like one hundred. That being said, when you get to one hundred and overcome it, in the moment in which you’re done with a beat, don’t you feel the pressure to exceed the expectations, that surely are higher than the starting ones?
I’m not afraid of failing, and I’m not saying that because I’m sure I won’t ever fail. When I’ll fail, I’ll get back on the right track, trying one more time. If we fail, it means we didn’t give or study enough. The key to overcome yourself is always there, it’s inside of you.
In an imaginary scale of importance, how much do beat, lyrics and voice count?
I’d give the 33% to each one of those factors and, of course, 1% to luck.
Who are your masters? Artistically speaking, who and what influences your music?
I’ve been influenced by different artists, such as Stromae, Michael Jackson, Booba, Drake and many others who’ve given me something. That being said, I wouldn’t necessarily speak of masters, as we can learn from anyone after all.
Who’s the international artist you’d say ‘yes’ to, if they proposed you to collaborate on a project?
Drake.
Yes, I am. Lately, I’ve been working on myself, not just as an artist but also as a person. I feel very satisfied. In fact, besides success and platinum records, it’s important to educate yourself. I like what I’m building, and I do it without trying too hard. My music is not meant to be the product of a request, but the result of a free collaboration. If I don’t feel like going to the studio, I just don’t go. Maybe, this approach has worked out.
What will Italian trap’s next step be? How about yours?
I want to paint and play the piano. I want to do something different, because when you give a lot, you get to a point where you need to recharge yourself. I’ll reveal my artistic ambitions in the future, and it’s due to a spiritual reason rather than a material one.
Alessio Lapice The reasons prompting us to believe in our dreams can be different, but for Alessio Lapice there’s no driving force of life beside love. You have to be careful, because the love Lapice refers to isn’t the sentimental one, but a poetic love, that never betrays or disappoints you. It’s the love for yourself and what you believe in. It’s a love meant as the best way to follow what you look for. After all, he loves all the characters he’s played over the years and he admits he’s loved even the bad ones, because in the world of cinema everyone deserves to be loved.
INTERVIEW
Giovanni Garofalo PHOTOGRAPHY
Alessandro Oliva
I love what I do very much, and I always have something in common with the characters I play. This makes them feel like mine and it makes me really become them as well. I don’t want to wear the shoes of a character, I want to be that character. Inevitably, in the characters I play you can find me, my filter, a part of my life.
I’ll start with a question I do care about – Naples, my and your city. What does Naples mean to Alessio Lapice?
Naples is my mum and teacher, it’s that infinite strength to resist and never stop before an obstacle. It’s taught me to be ready to accept changes. It’s like if it could make his inhabitants able to face the continuous evolution of life. In my journey, Naples is something that keeps on coming back. My hometown is my biggest source of inspiration, it’s always been there for me. I often say to myself: ‘It’s a good thing I was born in Naples’, and that’s because it’s played a fundamental role in my life. For me, it’s the definition of an extreme, visceral and infinite love. Has it influenced your acting career as well?
Yes, of course. You always face many obstacles in the art world, but when I go back to Naples, I feel like they get smaller and smaller. It’s an example for me. Moreover, it’s something I have inside of me: even when I’ll go to China or the other side of the world, it’ll be with me. When I do something good in the world of cinema, I do it for my hometown as well. How and when did you realise you wanted to make a living out of your passion?
I understood it when I went to see the rehearsals of my friends’ show. Back then I was 17 years old, and I enjoyed what I saw very much: the act of creating together. One day, my friends gave me a small part in a show. Then, I played a few minor roles in other shows. I finished my studies and went to Rome, where I started taking the first real steps. What makes an actor good?
It’s hard to say. I believe studying is the first step: without studying, it’s not possible to go the distance. More than anything else, I think what makes an actor good is being 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. Only by loving what you do and interpret, you can find the key to being a good actor. Speaking of your works, in ‘Il primo re’ (in English, ‘The First King: Birth of an Empire’, E.D.) you play the role of Romulus, acting in Latin. How was playing a role so distant from us and in an archaic language?
The first rehearsals weren’t easy, it’s a language that requires a different use of the jaw. On the contrary, later on I came to the conclusion that it probably is a language suitable for acting as well. Oddly enough, it can turn out to be a simple language. What did you think when you were chosen by film director Matteo Rovere to play such a powerful role?
Perhaps, we should ask Matteo. I believe this choice was made because of his vision of the characters. What I liked is the evolution of these characters: Romulus and Remus start at the same level and then become very different characters. In the script, this evolution wasn’t so obvious. In fact, we did search for it while filming. What I know for sure is that the more I was on set, the more I knew Romulus: I felt he belonged to me, I felt he was a part of me. I asked you about Naples, because you played in the Gomorra tv series, where Naples is, sometimes, portrayed in a mystifying way. How was this experience?
Well, I lived this experience for what it was. It’s fiction, a show. It doesn’t fully reflect the city of Naples, but just a fictionalised part of it. I don’t think Naples benefits, or doesn’t benefit, from a tv series. Perhaps, the matter that should make us think is that people are always more intrigued by evil’s spectacularity than anything else. Do you put any of yourself in the characters you play?
The driving force of life is love. Just like it happens in everyday life, in the world of cinema you have to love the characters you meet and get to know them, without having prejudices. You have to love the roles you play, no matter what kind of characters they are: you have to treat each and every role in the same way. If we don’t love what we do, we won’t ever be able to get to people’s hearts.
I often happen to hear the stories of people who come in last, and I think we should reach out and take them to a higher position. The same applies to the characters I’ve played. In fact, I always try to hug them, get to know them, elevate them and, at the same time, get known by them, through a continuous dialogue, where the person and character get to know each other, binding themselves together. What do the characters you play leave you with?
A role like the one of Romulus was the most beautiful gift I could’ve wished for, because it allowed me to come into my ancestors’ life, know their own habits, get a taste of the cold weather, get emotional about fire. I really felt like I was Romulus. Rediscovering how I was in ancient times, while feeling a part of the earth, was a gratifying experience. The precariousness of those who lived before us, always feeling unsafe and fighting for their life are some of the things that I had to interpret and that made me think. I interpreted brotherly love and its negation, exploring the primordial elements, that are earth, water, wind and fire, elements we mistakenly take for granted. This is what the characters I play leave me with, and it’s a big present fulfilling my soul. What’re the great examples you draw inspiration from?
I’d say Matthew McConaughey. I like his journey, and he inspires me a lot. From his simplest works to the most important ones, he’s always left a mark. The true masters who inspire me are, on the contrary, the people I meet every single day, their stories. I like to know how they face life’s dynamics. Is there a creative goal you’d like to reach?
I’d like to act in different languages, from French to Spanish. I’m already doing it, but I’d like to deepen my knowledge and strengthen my abilities to act in the original language. I believe it’s fundamental, in order to deeply know different worlds, cultures and, of course, ways of working. What’s missing from today’s Italian cinema?
I’d say there’s a need for something more, like in every other country. That being said, I’m very optimistic: we’re in a growth phase, that’s characterised by a strong evolutionary force. Something important might come out of all this, just like it happened in the past. Perhaps, what’s missing is a bit of courage, the courage to dare, but we’re working on this. My view of today’s Italian cinema is positive, and I’m happy to be a part of it. It’s the question I ask every actor I meet: would you like to play a role on the stage of a theatre?
I’d like that, even if all my love is for cinema right now. I feel like I’m in a relationship with cinema, you know.
Luisa Delle Piane On a sunny autumn morning, I met with one of today’s most stylish gallerists in the unusual space that she’s inhabited for 25 years now. Although Mrs. Delle Piane is a fashion aficionado, if she could go about her days wearing nothing but a few perfume sprays, I feel it’d be Frederic Malle and Dominique Ropion’s comforting scent ‘CARNAL FLOWER’. In fact, as Mrs. Delle Piane said in this exclusive interview, she doesn’t consider herself a lone wolf, but she does enjoy taking a few moments to indulge herself in the warm embrace of solitude. Keep on reading to find out everything about such a wavering figure, who’s built her namesake gallery on a multi-disciplinary approach, only believing in the power of her own instinct to make a name for herself in the fields of design, jewelry and contemporary art. INTERVIEW
Marco Martello PHOTOGRAPHY
Simon
Being a bit of an undefined figure, I had to make everyone realise I wasn’t playing games. At first I was very followed, then I did some fairly interesting things and, in the end, I made people understand I was putting all my hard work into this project, that’s Galleria Luisa Delle Piane. That being said, I don’t think being a woman has ever been a problem over my career. When I started out, everything was very simple. You just had to find a designer you liked, call them and organise an exhibition. What was your first experience with design?
I started my business collecting objects from the late 1800’s and early 1900’s. When that experience was almost over, I felt like it was time for a change. That’s when I had my first experience with design. Shortly after, I did inaugurate an exhibition: it was called ‘Pane fresco’ (in English, ‘Fresh Bread’) and built around the works of Italian designers Francesco Argenti, Alberto Artesani, Fabio Bortolani, Contreras Wood/Ragni, Giovanni Drugman/Michele Pizzinato, Donata Parucini, Danilo Premoli, Francesco Rota, Pietro Silva, Paolo Ulian, Massimo Varetto and Raffaele Venturi. Mrs. Delle Piane, what prompted you to pursue a gallery
to look at things in a more free and less codified way. As to Gaetano Pesce, that’s the most ‘international’ encounter I can think of (by the way, I was the first one to organise an exhibition about his work in Italy). The gallery that’s named after you has operated within a multi-disciplinary framework since 1994. In fact, you’ve approached the design field, as well as that of jewelry and contemporary art. What binds all the pieces we can admire in this space together?
Well, it’s me, and I say it in all modesty! By the way, why did you choose this particular space?
career?
A friendship! It was my friendship with a pair of very polished antique dealers that pushed me into this world. Back in the 70’s I was a young woman starting my career, and I used to travel with them when they were on the hunt for antiquities. Needless to say, I fell in love with an aesthetic that would materialise itself through objects. That being said, what marked a turning point in your
I have to say I chose it for a personal reason, as it was owned by my husband. When I first entered this place, I said to myself: ‘Well, it’s not bad, not bad at all’. Then I called my dear friend Rodolfo Dordoni, who reassured me, and that’s how it all started. For sure, I didn’t choose this location because of the surrounding area. In fact, Sarpi wasn’t a nice part of town 20 years ago. Funnily enough, it’s turned into Milan’s most ‘international’ neighborhood: here you can eat, and wear, whatever you want!
climb up the ladder of success? Mrs. Delle Piane, let’s take a step back and talk about
A few encounters, I’d say. In some ways, my encounter with Gaetano Pesce and, of course, the one with Dino Gavina. In fact, Gavina represented, and still represents, an example of the modern-day entrepreneur, as he approached both the art world and a very rigorous concept of design, that of Enzo Mari, Carlo Scarpa and then Castiglioni. I think my encounter with Dino Gavina has definitely prompted me
the environment in which you grew up. What influence has it had on the path you’ve been following for almost 50 years?
My own mother, who lived outside Milan and didn’t have any information, used to surround herself with beauty: she bought Nelson’s couches, the Fontana Arte lamps and many
other design objects. So, she’s been an ‘indirect’ example to me. That being said, I wasn’t given any lessons, but a great operational freedom and support. In fact, my parents understood I had a passion and willingness to fully express myself.
launched an exhibition about Italian artist Massimo Recalcati and, from that moment on, I’ve traveled from one field to another, without ever stopping. As to the second part of your question, the emotions I feel have changed over the years. In fact, it’s now harder, for me, to find an object that’s able to make my heart race…
In today’s society, how can the role of designers be defined?
Going back to contemporaneity, what do you think about ‘Sustainable Design’?
It’s very hard to define it. All I can say is that designers will have to design taking into consideration the artificial intelligence. In fact, they will eventually have to redesign the human figure! Speaking of designers, what criteria do you take into account when judging a young creative’s work?
You know what? A certain mutuality and, when I speak of mutuality, I’m referring to personal affinities. However, it’s not simple to find someone who shares your creative vision. When I meet a designer whose vision is too ‘extreme’ and I can’t understand the language their work speaks, it’s hard for me to carry on a common project. How has the role of a gallerist changed since the 1970’s?
I’m a part of a different generation, as when I started my career there was no book on this matter. Over time, my job has become way more difficult. You just have to think about the blurring of the lines between art and design. The expressive language has totally changed… Let’s now focus on today’s design scene. What’s your opinion on the so-called ‘Democratic Design’? The fashion system has recently started expressing interest
Some designers are rigorous when it comes to designing ethically. For example, Matali Crasset’s work has always moved in this direction. So there’s a wave of less glorified designers who’ve adopted a sustainable approach to design, and we just have to wait and see whether people will go all the way or not. Let’s now focus on your work once again. Despite your gallery’s great success, do you have any regrets?
The only regret I have is that I’ve never defined my work in a rigorous way and, perhaps, I should have been more precise. What I want in my space is never the very same, and this can be a problem when it comes to communicating what I’m working on. Well, that’s also how you’ve distinguished yourself, over the years, from all the other Milanese gallerists. It’s a good thing you’ve believed in the power of your own instinct!
Yes, that’s right. Being a multi-disciplinary gallerist has made Galleria Luisa Delle Piane grow. Over time, people have understood that, no matter what object I choose, I always know the reason why I chose it.
in this phenomenon (an example can be given by the collaboration between Virgil Abloh, founder and creative
Going off this, Italian writer, sketcher and painter Leo
director of luxury streetwear brand Off-White, and IKEA,
Longanesi wrote: ‘Art is a call to which too many who
Swedish low-cost furniture colossus)!
have not been called respond’. Do you believe the same can be said of design? How would you describe today’s
Let’s see where it takes us, I’m just a spectator in this particular thing. I won’t express an opinion, as it’s a work in progress. Mrs. Delle Piane, you recently inaugurated ‘MOSTRA’. Do you remember the first exhibition you’ve organised in this space, that’s located in Via Giusti 24 (Milan, Italy)?
design scene?
Well, for better or worse, it’s complex, therefore indistinct and slightly undefined. I believe it’s hard to say what’s what, making a distinction between design and non-design. There’s more freedom today, but freedom doesn’t make things easier.
What’re the emotions you felt when you inaugurated the first of a long series of exhibitions?
Lastly, what do you expect from the future? How is design going to evolve in the next 10 years?
I liked this place and wanted to show it. So I asked myself what I could actually do in such a beautiful space, and I realised that I wanted to resume my work. I wasn’t ready, but I let myself be overwhelmed by the willingness to present this place. In fact I hosted a lunch party, and then I organised the first exhibition, displaying the works of three friends of mine: a poet, a photographer and Giancarlo Montebello, who’s always designed jewelry. After this, I
Well, as I said before, technology will play a fundamental role. In fact, I think design is destined to express itself in a different way and, as a result of this, designers won’t straddle the art field and the design one anymore. The question we should ask ourselves is: ‘What will men do, if machines will do all the work?’.
Ignasi Monreal You’ve already heard of this young artist, that’s for sure. From studying ‘Comics & Illustration’ in Barcelona to seeing his own artworks being featured on the Gucci art walls, Rome-based creative Ignasi Monreal has made a name for himself, without letting worries, rules or expectations get in the way. In his words, ‘the art industry is extremely tough. Not long ago, I thought I had to adapt and change to become a part of it, but the more I learned about it the less I wanted to play by its rules’. In fact, his work’s power and communicative strength consist of a one-of-a-kind authenticity. Let’s now get to know this renowned artist up close and personal, hearing the story of his ascent from Ignasi himself. INTERVIEW
Marco Martello PHOTOGRAPHY
Laura Sciacovelli
Studying ‘Comics & Illustration’ in Barcelona was a great experience. In fact, I found a place to surround myself with other teens who liked to draw and paint. We created an atmosphere of healthy rivalry, that pushed us to learn more (I still have friends from that time 15 years ago). With that, comics taught me to infuse my drawings with narrative, and generated in me an interest in character design, that eventually lead me to fashion.
First of all, what’s your earliest art-related memory?
sources of inspiration you resort to? If you had to name a singer, or music group, you’d love to work on a project
It’s not really my own memory, but my mother says I started drawing when I was two years old. According to her, I’d draw ‘Coby’, Barcelona’s 1992 Olympic mascot, all the time. When did you realise you wanted to pursue a career in the arts?
It happened around my early twenties, when I moved to London. Before that, I didn’t think of it as a profession, but when I arrived to the English capital I realised there was a space for it. People appreciated my work and were willing to pay for it, which at first came as a shock, but it obviously encouraged me to pursue my own vision. That being said, what’s your fascination with art, drawing and painting about?
I’ve done it all my life, it’s given me meaning and identity. I do it because it’s the thing I can do best.
with, who would it be?
An orchestra, or even something to do with opera. There’s something fascinating about the scale of it, the magic of a live experience and its ephemeral quality. Maybe, I’ll bring animation into theatre. Who knows, hopefully one day… Ignasi, let’s take a step back. What’s the most challenging situation you’ve handled over your career? Do you have a piece of advice for those who are struggling with freelance work and its dynamics?
When I was starting, I didn’t know how to price nor value my work: I felt that clients were doing me a favour by hiring my services, so I’d work for free. Eventually, I started working with my fabulous agent Sonia Adamczak, who taught me my effort’s worth and also allowed me to focus on creativity. Team work makes us stronger and more stable. Moving on, you were born and grew up in Barcelona, but
You’ve also expressed your creativity through film and
you now live in Rome. Why did you decide to move to
ceramics, but is there any other medium you’d like to
Italy? How does your hometown differ from the eternal
experiment with?
city?
Spaces. I’m very intrigued by the idea of creating an atmosphere, that’s why I’m currently experimenting with ceramic tiles. Eventually, I’d like to ‘dress’ architectures. Also video games for similar reasons, I want to create a world from scratch and be able to interact with it.
I moved to Rome after five years in London. Living in the UK was a great experience and it taught me a lot, but after half a decade I needed a radical change. So I came to this wonderful city in search of a calmer lifestyle, I needed some perspective and time to reconnect with my creative ambitions. I’m not sure I’ll stay here forever, but before leaving I must learn to speak Italian properly. As to Barcelona, it’s very different from Rome, but I’d say what makes them
By the way, you’ve collaborated with Rosalía, FKA twigs and Christine & the Queens. Is music one of the main
similar is people’s warmth, beauty, good food and, of course, the sea.
Vuitton, but what’s the secret of your success? How do
Let’s go back to your work. What’s the project you’re
I only started getting good projects when I stopped looking at other people’s work and focused on doing things that pleased me. My aim is to create timeless pieces that might be relevant now but also in 50 years.
mostly attached to? How about the one that best represents your creative vision?
It’s my first solo exhibition ‘Plats Bruts’. By the way, it was the first time I did something entirely for myself. It’s a series of ‘trompe l’oeil’, still life paintings that worked as a diary of my meals when I first arrived to Rome. Doing it was liberating…
you manage to create such powerful works?
For The Greatest #16 - The Transformation Issue, I talked with artist, designer and scenographer Marcantonio, who told me: ‘A career in the arts is beautiful, but in practice it’s very difficult: you spend a lot of time on the very same thing, with lots of worries and expectations. I used
In 2015, you realised your first #GucciGram artworks,
to experience art, feeling a sense of ‘inferiority’. Design
establishing a collaboration with the Italian luxury brand
taught me how to leave that behind, taking it easy and
and its creative director Alessandro Michele. Can you
having fun’. Would you say you’ve ever felt a sense of
tell us more about those early works portraying a seer
‘inferiority’ towards art? According to your experience,
and a weather girl? By the way, what were your ambitions
can worries and expectations get the best of you when
when you started working alongside Gucci’s Alessandro
creating?
Michele?
It was a very fun project. Gucci was still establishing its new aesthetic, so there was a lot of room for exploration. They commissioned one artwork, but I was so motivated I did four, and on top of that I animated them. I was hoping they’d call me back for other projects, but I could never have imagined I’d end up doing the campaign.
Yes, I have. The art industry is extremely tough. Not long ago, I thought I had to adapt and change to become a part of it, but the more I learned about it the less I wanted to play by its rules. I’m determined to create my own path. For me, art is about freedom and enjoying what I love to do most in my own terms. I leave rules, worries and expectations for my work with clients.
Let’s now focus on the Gucci art walls. What did you feel
Ignasi, last October you inaugurated your latest show ’Mi
when you saw your art on a wall for the first time?
manchi come il Wi-Fi’ (in English, ‘I miss you like the Wi-Fi’) in Rome’s Galleria Stefania Miscetti. What’s the
They had already done a couple of walls with my friends Coco Capitan and Angelica Hicks, so when the time to put my work out there came I was very excited. It didn’t feel real then and still doesn’t today.
message behind this exhibition?
Since it was the first digitally painted campaign ever done by a major luxury brand, I wanted to do a tribute to the great masters. Gucci gave me creative freedom, so I took the opportunity to do some major fan art.
This exhibition is the result of an old idea I had with my friends Jack Wooley and Bernardo Moleón. The ‘Mi manchi come il Wi-Fi’ exhibition places the internet, in accordance to its contemporary status, in a central position and in the form of a unique Wi-Fi router, that’s reminiscent of an altarpiece cross (hand-made from intricate ceramic tiles, a craftsmanship that’s historically related to religious art). The gallery room becomes a space for ritualised web-browsing, enlightened by the router’s neon blue light. Just like the prayer rooms, it creates a space for contemplation and self-reflection. In the era of misinformation and data spills, and at the dawn of the mysterious 5G technology, it fills us with questions about our relationship with the new deity.
Speaking of the masters who’ve influenced you over
Just one last question. Despite your great success, do
the years, Spanish artist Salvador Dalí wrote: ‘It is good
you still have a secret dream? At the dawn of the mys-
taste, and good taste alone, that possesses the power to
terious 5G technology, is there one thing you’d change
sterilise and is always the first handicap to any creative
about your life?
Two years ago, you realised a series of artworks for Gucci’s SS18 campaign, drawing inspiration from some of the most famous paintings of all time (such as Van Eyck’s ‘Arnolfini Portrait’, Bosch’s ‘Garden of Earthly Delights’ and John Everett Millais’ ‘Ophelia’). What can you tell us about the making of this campaign?
functioning’. Do you agree with him on this matter? How would you define the concept of ‘taste’?
Well, I can’t disagree with Dalí! It’s hard to define good taste but a bad one is hard to miss, although there’s something amusing about its naivety. Ignasi, you’ve achieved fame by collaborating with luxury clients such as Dior, J.W. Anderson, Gucci and Louis
I have many ambitions, but I’m living my dream life at the moment.
Photographer
Manuele Geromini Fashion Editor
Gaëlle Bon
MODEL Josef Ptáček- M Management GROOMING Yoann Fernandez Open Talent Paris
SET DESIGNER Félix Gesnouin Walter Schupfer Management CASTING Rama Casting
Raincoat JIL SANDER - Trousers DRIES VAN NOTEN - Shoes BOTH - Scarf HIPPY MARKET
T-Shirt LANVIN - Hat PASQUALE BONFILIO Opposite Page Shirt ACNE STUDIOS - Scarf HIPPY MARKET- Hat ANN DEMEULEMEESTER
Total Look UNIFORME - Shoes BOTTEGA VENETA
Hoodie BOTTER - Shirt GUCCI - Trousers LOUIS VUITTON Opposite Page Shirt LANVIN - Trousers LOUIS VUITTON - Hat PASQUALE BONFILIO - Shoes BOTTEGA VENETA
Jacket and Trousers EGONLAB - Hat PASQUALE BONFILIO Opposite Page Total Look DRIES VAN NOTEN - Hat PASQUALE BONFILIO - Shoes BOTTEGA VENETA
Tank Top and Trousers PRADA - Shirt DRIES VAN NOTEN Opposite Page Total Look ANN DEMEULEMEESTER - Hat PASQUALE BONFILIO Stylist Assistant Elyse Arnould Derosier
Photographer
Fang Xiaohuan Fashion Editor
SK Tang
MODELS Ernest Klimko - Active Models China Daniil Kalinin - GFI Models
Daniil wears Shorts BOTTEGA VENETA
GROOMING Xinran Lee
Daniil wears Top PRONOUNCE - Trousers KARMUEL YOUNG - Necklace MODEL’S OWN - Shoes PRADA Opposite Page Ernest wears Total Look PRADA
Daniil wears Total Look GIVENCHY Opposite Page Ernest wears Top XIMON LEE - Trousers SANKUANZ / Daniil wears Trousers and Belt GIVENCHY Silver Necklace SANKUANZ - Gold Necklace MODEL’S OWN
Ernest wears Top XIMON LEE - Trousers SANKUANZ - Shoes PRADA Daniil wears Trousers and Belt GIVENCHY - Shoes and Silver Necklace SANKUANZ - Gold Necklace MODEL’S OWN Opposite Page Ernest wears Top GIVENCHY - Trousers PRONOUNCE - Boots PRADA
Ernest wears Coat CORNERSTONE HOMME - Trousers KARMUEL YOUNG - Shoes PRADA Opposite Page Daniil wears Knitwear FENDI / Ernest wears Shirt MARCELO BURLON COUNTY OF MILAN - Top GIVENCHY - Trousers CORNERSTONE HOMME
Thiam wears Total Look GUCCI Opposite Page Sandah wears Total Look MSGM
Ernest wears Knit Top PRONOUNCE - Trousers XIMON LEE / Daniil wears Shorts BOTTEGA VENETA Opposite Page Ernest wears Trousers THE WORLD IS YOUR OYSTER - Bags KUBORAUM
Ernest wears Blazer THE WORLD IS YOUR OYSTER - Knit Top PRONOUNCE - Trousers XIMON LEE - Shoes SANKUANZ Daniil wears Shorts BOTTEGA VENETA - Socks STYLIST’S OWN - Sneakers SANKUANZ Opposite Page Daniil wears Blazer and Top PRADA - Shorts CORNERSTONE HOMME - Necklace MODEL’S OWN Stylist Assistant Jennie Wong
Photographer LEONARDO VELOCE Fashion Editor MATTEO GRECO
Art Director SARA FERRARIS Model LUCA LEMAIRE - Hakim Model Management Makeup GIORGIA SAVAGLIO - Closeupmilano using Deciem Hair LUIGI MORINO - Closeupmilano Casting ISADORA BANAUDI All Clothes Are By GIVENCHY SS 2020 Collection
PhotographerStylist Assistant Assistants Leti Cabana Maggie - Stylist Chao Assistant and I-TingNoĂŠmie Yeh Fourmeau
Thanos Poulimenos Photographer
Fashion Editor
Kamran Rajput MODEL Oscar Robinson Milk Model Management MAKEUP Grace Ellington
Cape and Top DILARA FINDIKOGLU - Tights GUCCI
HAIR Brady Lea - The Only Agency using Kevin Murphy
Total Look ALEXANDER McQUEEN Opposite Page Total Look COMME DES GARÇONS HOMME PLUS
Total Look COMME DES GARÇONS HOMME PLUS Opposite Page Corset STYLIST’S OWN - Leggings BALENCIAGA - Socks FALKE
Top, Sleeves and Trousers HARRIS REED - Tights Worn Underneath GUCCI Opposite Page Total Look MOSCHINO - Headpiece ATELIER BENJAMIN PAUL - Socks FALKE
Dress GUCCI - Underwear STYLIST’S OWN Opposite Page Vest BROOKS BROTHERS - Shirt Archive VIVIENNE WESTWOOD X BURBERRY - Coat BURBERRY Vest Worn As a Skirt ISSEY MIYAKE PLEATS @SEA.LAM Archive - Belts STYLIST’S OWN
Jumper PER GÖTESSON @SEA.LAM.ARCHIVE - Skirt CHARLES JEFFREY LOVERBOY - Necklace ALEXANDER McQUEEN Opposite Page Jacket and Trousers CRAIG GREEN - Vest STYLIST’S OWN - Gloves GUCCI Stylist Assistants Harry Crum and Giulia Bertasi
Photographer
Greg Lin Jiajie Fashion Editor
Jack Collins
MODEL Tae Min Park - Next Models
HAIR Benjamin David using Oribe
MAKEUP Jinny Kim - Gary Represents
CASTING Troy Casting PRODUCTION Andre Augusto
Jacket BOTTEGA VENETA - Onesie TAKAHIROMIYASHITA THE SOLOIST - Sword COSTUME STUDIO
Jumper SEAN SUEN - Jacket ALEXANDER McQUEEN - Skirt, Shoes, Collar and Shin Guards TAKAHIROMIYASHITA THE SOLOIST - Jeans SAINT LAURENT By ANTHONY VACCARELLO Sword COSTUME STUDIO - Earring ALAN CROCETTI - Bag GUCCI Opposite Page Jumper JW ANDERSON - Waistcoat and Shorts ANN DEMEULEMEESTER - Onesie TAKAHIROMIYASHITA THE SOLOIST - Eye Patch COSTUME STUDIO - Rings BALENCIAGA
Blue Vest and Boots LANVIN - White Vest TAKAHIROMIYASHITA THE SOLOIST - Shirt BOTTER - Trousers and Earring BALENCIAGA - Earring ALAN CROCETTI - Belt COSTUME STUDIO Opposite Page Jacket KOCHE - Shirt LOEWE - T-Shirt SACAI - Bodysuit DANIEL W. FLETCHER - Shorts HAIDER ACKERMANN - Shoes BOTTEGA VENETA - Hat COSTUME STUDIO - Coin Purse KENZO
Oliver wears Jacket RAF SIMONS - Top and Trousers DIOR MEN - Shoes G.H. BASS & CO. Opposite Page Ange-Marcel wears Total Look ALEXANDER McQUEEN
Coat JUNYA WATANABE - Jumper and Shirt VALENTINO - Onesie TAKAHIROMUYASHITA THE SOLOIST - Shoes BALENCIAGA - Hat COSTUME STUDIO - Earring and Ring ALAN CROCETTI
Jacket and Belt HAIDER ACKERMANN - Trousers CRAIG GREEN - Shoes BERLUTI - Earring and Bracelet ALAN CROCETTI - Earring DIOR MEN - Socks PANTHERELLA Opposite Page Waistcoat Worn Over Shoulders TAKAHIROMIYASHITA THE SOLOIST - T-Shirt KOLOR - Shirt LUDOVIC DE SAINT SERNIN - Belt SAINT LAURENT By ANTHONY VACCARELLO
Shirt SACAI - Hoodie HAIDER ACKERMANN - Vest TAKAHIROMIYASHITA THE SOLOIST - Jeans MARNI - Shoes BALENCIAGA - Eye Patch COSTUME STUDIO Belt SAINT LAURENT By ANTHONY VACCARELLO Opposite Page Sleeveless Jumper JIL SANDER - Jumper KOLOR - Shirt ANN DEMEULEMEESTER - Shorts DANIEL W. FLETCHER - Shoes COMME DES GARÇONS HOMME PLUS x NIKE Sword COSTUME STUDIO - Socks UNIQLO
Photographer
Justin Von Oldershausen Fashion Editor
Scott Shapiro MODELS Qi Junkai - Soul Artist Management Rockwell Harwood - IMG Models MAKEUP Kento Utusbo
Qi wears Vest and Shirt N.HOOLYWOOD
HAIR Shin Arima - Home Agency
Rockwell wears Jacket, Top and Scarf PRADA - Shirt LOUIS VUITTON Opposite Page Rockwell wears Total Look BOTTEGA VENETA - Sunglasses MYKITA
Rockwell wears Jacket, Sweater and Trousers ACNE STUDIOS - Shirt WAN HUNG - Ring MODEL’S OWN Opposite Page Rockwell wears Jacket DIOR MEN
Opposite Page Qi wears Coat, Jacket and Top ERMENEGILDO ZEGNA Qi wears Coat WAN HUNG - Jacket DRIES VAN NOTEN
Rockwell wears Total Look BALENCIAGA / Qi wears Jacket GIVENCHY
Qi wears Coat WAN HUNG - Jacket DRIES VAN NOTEN Opposite Page Rockwell wears Jacket, Sweater ACNE STUDIOS - Shirt WAN HUNG
Rockwell wears Total Look BOTTEGA VENETA - Sunglasses MYKITA
Photographer SIMON Fashion Editor MATTEO GRECO
All Accessories Are By Dior x RIMOWA SS 2020 Collection
Photographer
David Gómez-Maestre Fashion Editor
Alberto Vegue
MODEL Jesús Moreno - Uno Models GROOMING Juliana Izidorio
Total Look RAF SIMONS - Boots STYLIST’S OWN
ART DIRECTOR Jorge Parra
Trousers MARNI - Shoes GRENSON X CRAIG GREEN Opposite Page Shirt DOHAN JUNG
Total Look DRIES VAN NOTEN - Sandals ACNE STUDIOS Opposite Page Total Look CRAIG GREEN - Sneakers CAMPER
Total Look DOHAN JUNG Opposite Page Blazer PALOMO SPAIN - Vest DOHAN JUNG - Trousers ACNE STUDIOS - Socks STYLIST’S OWN
Total Look JIL SANDER Opposite Page Tunic LOEWE - Sneakers CAMPER
Photographer MATTHIEU DELBREUVE Fashion Editor MATTEO GRECO Model OLANIYAN OLAMIJUWON Elite Model Management
Grooming ALICE FAYRE Closeupmilano using Deciem Casting ISADORA BANAUDI
All Clothes Are By GUCCI SS 2020 Collection
Photographer Assistant Arthur Jung - Stylist Assistant Francesca Albergo
Photographer
Jorge Perez Ortiz Fashion Editor
Eus Cantó
MODELS Keenan Gyamfi - Marilyn Agency Claas Nemitz Premier Model Management
GROOMING Gloria Rico - Kasteel Artist Management using Shu Uemura CASTING Jordan Mergirie
Keenan and Claas wear Total Look STYLIST’S OWN
Claas wears Total Look FENDI - Boots RAF SIMONS / Keenan wears Headscarf, Vest and Shirt GMBH - Leggings NIKE - Boots BOTH Opposite Page Keenan wears Total Look STYLIST’S OWN - Earring ALAN CROCETTI
Claas wears Total Look LUDOVIC DE SAINT SERNIN - Sunglasses GMBH - Earring and Bracelet ALAN CROCETTI Opposite Page Claas wears Trench Coat CELINE - Shirt GMBH / Keenan wears Bomber VERSACE - Trousers GMBH
Keenan wears Tank Top STYLIST’S OWN - Earring ALAN CROCETTI Opposite Page Claas wears Tank Top STYLIST’S OWN - Earring ALAN CROCETTI
Claas wears Total Look STYLIST’S OWN - Earring ALAN CROCETTI Opposite Page Keenan wears Total Look BURBERRY
Claas wears Sweater ADIDAS - T-Shirt RAF SIMONS - Leather Trousers STYLIST’S OWN Opposite Page Keenan wears Trousers GMBH - Boots BOTH
Keenan wears Trousers RAF SIMONS - Hat and Knee Pads STYLIST’S OWN Opposite Page Claas wears Total Look LUDOVIC DE SAINT SERNIN - Sunglasses GMBH - Earring and Bracelet ALAN CROCETTI
Keenan wears Jacket Y/PROJECT - Leggings STYLIST’S OWN Opposite Page Claas wears Trousers DRIES VAN NOTEN Photographer Assistant Aya Sawada
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MARC JACOBS DOCUMENTED BY CRAIG MCDEAN GIVENCHY.COM
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