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Pierpaolo Piccioli debutta come fotografo

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Il mondo della moda oramai conosce la magnificenza degli abiti di Pierpaolo Piccioli per la maison di Valentino, noti per suscitare quasi lacrime nelle supermodelle che li presentano in passerella, nelle celebrità che li vedono dalla prima fila e persino nei più inflessibili fashion editor. Stagione dopo stagione, Piccioli documenta meticolosamente nei suoi cahiers des défilés segreti (“diari creativi”) tutto il percorso che porta alla creazione di una collezione, dai primi schizzi ai collage che usa per trovare ispirazione, dalla musica che accompagna gli show in passerella agli inviti e alle fotografie di prove abiti, trucco e capelli.

Adut Akech

© Pierpaolo Piccioli

Nelle 248 pagine della 20sima edizione di A Magazine Curated By – una rivista che in ogni numero esplora l’universo estetico di un diverso stilista invitato a fare da guest curator – Piccioli dà libero sfogo alla sua visione creativa unica. «Voglio che la rivista sia un po’ come questi [i diari], molto personale, come un viaggio, un manifesto della mia estetica», dice a Vogue. «Parlo d’amore e delle persone che condividono i miei valori e le mie idee di inclusione».

Kaia Gerber

© Pierpaolo Piccioli

A Magazine Curated By Pierpaolo Piccioli comprende uno shooting di foto still-life di questi diari creativi ad opera del fotografo americano Joel Meyerowitz, e un book di personaggi impareggiabili (tra cui le modelle Leslye Houenou e Hannelore Knuts, la principessa Nicoletta Odescalchi e l’attrice Alba Rohrwacher) immortalati da Charles H. Traub sullo sfondo di alcune delle bellezze romane preferite da Piccioli. Annovera inoltre scritti del curatore Francesco Bonami e del poeta Luigi Ballerini, fotogrammi del mediometraggio The Staggering Girl diretto da Luca Guadagnino, il regista di Chiamami col tuo nome, e contributi di Craig Green, Marc Jacobs, Jun Takahashi (il fondatore del marchio Undercover) e Clare Waight Keller di Givenchy, che hanno tutti avuto carta bianca in un capitolo. Il numero include persino il debutto del designer come fotografo.

Edward Enninful

© Pierpaolo Piccioli

Lo shooting di Piccioli rende omaggio a un editoriale firmato Steven Meisel sul numero di Ottobre 1992 di Vogue Italia, allora sotto la guida della scomparsa Franca Sozzani; il servizio raffigura personaggi come Quentin Crisp, Patti Hansen e Lenny Kravitz con un berretto da cacciatore in testa e un cartello in mano con scritto il loro nome. «Quel servizio ha cambiato il mio approccio alla moda rendendolo più personale e più umano», spiega Piccioli. «Quei ritratti raffiguravano le persone per quello che sono piuttosto che per quello che fanno; forse una delle prime volte nella moda in cui qualcuno parlava della bellezza dell’inclusione». E prosegue citando David Bailey, Richard Avedon and Irving Penn, oltre a Meisel stesso, come alcuni dei suoi fotografi preferiti per il loro «approccio alla fotografia molto pulito, molto puro e molto onesto».

Benedetta Piccioli

© Pierpaolo Piccioli

Premier Antonietta

© Pierpaolo Piccioli

Nei ritratti, alcuni degli amici stretti di Piccioli, collaboratori e famigliari – la figlia Benedetta e la moglie Simona – posano con un copricapo di Philip Treacy della collezione couture di Valentino per la primavera 2018. «Il cappello crea una connessione tra tutti loro, ma allo stesso tempo la maniera in cui lo indossano, ognuno a suo modo, fa emergere la loro unicità e individualità», dice commentando le immagini, che non hanno subito ritocchi. Edward Enninful, il direttore di Vogue UK, è ritratto di profilo, stile cameo, il volto parzialmente nascosto dalle piume rosa del copricapo; l’attrice Frances McDormand, due premi Oscar (che appare sulla copertina della rivista) sbircia dalle piume con aria birichina; mentre una sorridente Naomi Campbell indossa il copricapo con gioiosa disinvoltura.

Frances McDormand

© Pierpaolo Piccioli

Rocco

© Pierpaolo Piccioli

Fanno una breve comparsa anche Kaia Gerber dall’atelier Valentino e Adut Akech, la star della campagna per la fragranza della casa Born in Roma, così come Mariacarla Boscono che ha scritto un pezzo per la rivista. «Volevo qualcuno che descrivesse mister Valentino e la sua maison dalla prospettiva di una modella piuttosto che di una giornalista o di qualcuno che sa tutto della sua vita», spiega Piccioli. «Conosco Mariacarla da quando aveva 14 anni, siamo entrambi romani, e anche lei come me ha iniziato da Fendi. Abbiamo ovviamente avuto percorsi diversi – lei è una modella ed è più giovane di me – ma Roma ti dà una certa naturalezza; sei circondato dalla bellezza ogni giorno ma non è una cosa che ammiri, la vivi e basta».

Mariacarla Boscono

© Pierpaolo Piccioli

La cover di “A magazine curated by”

A Magazine Curated By Pierpaolo Piccioli sarà disponibile dal 3 dicembre 2019



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The Mandalorian Boom Mic Fail

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  • The Mandalorian accidentally left a boom mic in a shot and fans are calling the show out on Twitter.
  • The moment goes down midway through Chapter 4: The Sanctuary.

    Good morning to Baby Yoda only! In the event that you haven’t already conned one of your friends into giving you their Disney+ password, lemme catch you up real quick: The Mandalorian is a lifestyle. The show, set in the Star Wars universe, is absolutely k-i-l-l-i-n-g it on Disney’s new streaming service and already has a massive fan base. But uh, unfortunately said massive fan base noticed a giant editing fail in a recent episode: the show fully left a boom mic in a shot.

    The mic can be seen about halfway through Chapter 4: The Sanctuary, when our main man The Mandalorian is chatting to Omera. You probably didn’t notice the mic because the shot in question is super dark, and it actually only shows up when you turn up the brightness on your TV, computer, or in my case, broken old iPhone. And even then it’s not that easy to see, so it’s pretty understandable that the show’s editors missed it.

    Still though, Twitter is going nuts:

    Whatever, I for one, am willing to suspend disbelief and assume the microphone is simply a floating piece of Star Wars technology. Like, maybe Baby Yoda is moving it around with his mind. You don’t know!!!!!!



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Here’s Why Katy Perry & Orlando Bloom Have Decided To POSTPONE Their Wedding!

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Katy Perry and Orlando Bloom are pressing PAUSE on their big wedding plans!

Wait. We know what you must be thinking …and no, the happy couple has NOT decided to call their nuptials off completely. (Phew!)

The pair was all set to tie the knot this December, but a source with all the juicy details revealed the real reason why they’ve decided to hold off on saying “I Do” for the time being.

Related: Katy & Orlando Definitely Want A Destination Wedding!

It turns out the 35-year-old singer and the 42-year-old actor made an important, last-minute change that drastically effects the timetable of their wedding: they’re changing the venue!

An insider broke the situation down to Us Weekly and said:

“They changed the timing due to the location they want.”

The source insisted there is nothing to worry about beyond that because “they’re beyond in love” and are reportedly enjoying every minute of planning the ceremony.

Between swapping Pinterest boards, picking color schemes, seating arrangements, and any other major decisions to be made, Katy and Orly surely have work cut out for themselves since they’re throwing not one but TWO big parties to celebrate.

“They’re going to have one local wedding party, and the other will be a destination wedding party.”

A destination wedding during the winter months? California weather usually fairs well during this time, but, we sincerely hope they picked somewhere warm and tropical to recite their vows!

Perhaps, Hawaii? Katy did just drop a romantic love song inspired by the pair’s frequent trips to the state.

It all sounds like double the stress, yet twice the amount of fun to us! It’s a good thing the two have plenty of money and help to get that all sorted out.

But more to the point, we’re glad to hear things are still going well in their relationship!

Just some minor rescheduling, nothing else to see here! / (c) WENN

So well, in fact, the confidant added the Dark Horse singer is chomping at the bit to get started making babies with her man:

“Katy wants to have her first kid soon after they get married.”

Awww. How exciting! And, we already know he’s eager to grow their family, too.

As our readers will recall, Bloom proposed to Perry on Valentine’s Day this year with a unique, $5 million ring. The lovebirds started dating in 2016, and despite a brief breakup at one point in 2017, they’ve since gone all in on creating a future together.

Last month, the Lord of the Rings star gushed about his perfect match in an interview with Man About Town magazine and further explained his stance on love:

“I want to make sure when I embark on [marriage and more kids], it’s with my heart full and very clear about the reality of what that means, as opposed to some romantic idea of what it means to be in a relationship. Because I think when you’re younger, we’ve all been sold this Hollywood idea of love and relationships, marriage and kids, and actually, what it really takes is communication and compromise, so life looks like somebody who’s willing to communicate and find joy in the simple and small moments.”

Good luck with locking down that new venue, you two! We can’t wait to see all the stunning pictures whenever the big event eventually goes down!

[Image via Avalon/WENN]



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How Balenciaga Became the Art World’s Favorite Brand

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So how did one of the biggest luxury fashion houses in the world—its sales surpassed one billion euros this year—become one of the most prized names in the art world?


Carly Busta, an aggregating Truman Capote for the Berlin scene who runs New Models, a kind of Drudge Report for the art world, said in an interview earlier this fall that Balenciaga pulls its talent from a creative class, often Berlin-based, that has more crossover with the art world than the fashion world. “You go to a Buchholz party”—the cerebral, blue-chip German gallery—“and it’s the same people who are walking in the Balenciaga show.” In other words: “There’s so much crossover that it feels like the art world and Balenciaga are a part of the same conversation.”

That comes from Balenciaga’s decision to approach the art world not necessarily with humility—which in the fashion world often perverts itself into condescension—but with a respect for its collaborators. “I could tell from the get-go that they weren’t trying to be super controlling about what was created and how it looked,” said Tabor Robak, the artist who created a project for Balenciaga this past fall based on some of his previous work, using a video game engine to generate a “cyberpunk cityscape from various futuristic buildings,” covered in countless versions of the house’s logo as signage. “There’s this postmodern aesthetic” that Balenciaga understands, Robak said, “where [you’re] looking at exactly what’s ‘now’ but also at the past, at history, and trying to do both things at the same time. And along with that comes a level of research. In my little bit of time with them, I could tell that they had a very strong research and development team. They’re really putting a lot of work into forecasting where they want to go.”

Nuriev agreed. Gvasalia’s team, he said, “is very different” than those at other fashion companies. “They are very advanced and cool. It’s not necessarily that they don’t follow the standards—they follow them, but in a very smart way. That art element in their DNA is not something they just bring as the marketing. They’re really passionate about it.”

And when friends of artists and gallerists are working with or even for Balenciaga, there’s a sort of network effect. “People want to wear each other’s ‘merch,’” Busta said, adding, “It’s a kind of capitalist realism.”

(Balenciaga’s associations with the art world have also made it a consistently rich topic for the brainy fringes of the fashion world. The house’s ability to transpose the late arrival of Western culture to Soviet bloc countries in the early ’90s into contemporary luxury fashion was the subject of an essay, “Bellwether Boots,” in fashion writer Natasha Stagg’s recent essay collection, Sleeveless. So embedded in the worlds of art and the creative class is Balenciaga that when reached for further comment about the Balenciaga-art world phenomenon, Stagg said that she was no longer felt comfortable discussing the brand: she is now employed by them.)


Balenciaga isn’t the first fashion house to embed itself in the art world. Prada has long been a go-to for those who admire Miuccia Prada’s noetic approach to fashion theory, and that brand of course has its own art museum. Some two decades after Martin himself began creating them, the Margiela blazer remains the gold standard of the gallerist uniform, at least in New York. And Helmut Lang worked with Jenny Holzer not simply as a collaborator but something like a true design partner. In the ’80s, Comme des Garcons was a uniform for artists and gallerists alike, combining a new thirst for the abstract with the New York zeal for black. (The outliers for that period are Armani fanatic Larry Gagosian and Mary Boone, whose arsenal of Chanel suits helped her burnish her reputation as one of the first blue-chip mega-dealers. Their wardrobes spoke the lingua franca of the go-go decade’s obscenely monied collectors.)





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