Where does fashion live? A cover of Vogue Italia asked this a few years ago. It was July 1998 and the answer seemed quite evident at the time: in fact, those were the years in which a refined creative and productive system had reached the highest point of its parable so far, and Italy (Milan in particular) was at the center. of the system. Times in which the rules of the game were very clear: who made fashion, for whom, for whom not, and how it should be told.

Where fashion lives today is less obvious and therefore no less relevant. Exactly one year after the outbreak of the pandemic – which arrived in Italy during the days of the Milanese fashion shows, the first public event to have to deal with, and within a few hours, with the new reality – is there still room for this market, and more generally for the value system it represents? Is it destined to be increasingly the preserve of a lucky few, perhaps especially in distant countries? Or is he experiencing only a suspended time, a long hibernation resulting from the thinning out of social occasions, but while he is resting he matures new ideas ready to blossom soon?

So we went looking for fashion. By building a path that does not so much tell the creative gesture (we do it every month), but rather the moment in which the ideas have already taken shape, and then they represent themselves, and then they meet the judgment of the public.

We therefore speak of fashion shows, the subject of a profound transformation and dematerialization – and here it must be understood whether the emotions generated, and the memory of them, remain such if deprived of the moment of physical encounter. We talk about the boom of fashion videos; of new unexpected digital spaces, destined for many (who would have thought that the business of clothes for video games would have reached nine zeros), or a few (interesting the growth of micro-communities, space sheltered from haters and anxiety from like ); of shops, which by definition have the pulse of consumer priorities; of new geographical perspectives (entire continents where fashion lives, indeed, but a very different life from here).

Above all we talk about the Street. The place where and for which fashion was born, and where we all dream of returning soon to live freer and lighter lives. We asked a group of relevant international stylists to deal with the road: it is they who take the creations of the stylists as a profession and make them live in photo shoots, interpreting them and thus almost ferrying them into the real world. The stylists themselves created the images you will see in portfolio in this issue by choosing real people who live fashion in their daily lives. As far as I know, it is the first time that an issue of Vogue has been made without the contribution of professional photographers and without models: a small experiment that aims to represent reality live, with the fewest possible filters.

And in a street in Milan, a few meters from our office, they were taken the covers. They simply celebrate the dream of two girls who believe so much in the future of fashion that they plan to make it a job. I am convinced that in a world where, after all, what matters is only the talent of the people and the ability to renew themselves, no indicator is worth more than the enthusiasm of those who have just started.

English Text at this link

Vogue Italia has been on newsstands since February 5th

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