Hermeticism is the title of the service Luca Campri for the May issue by Vogue Italia. The styling was entrusted to Francesca Guys.

Here are some shots taken from the shooting.

Puffed silk blazer, Yali; brassiere top doubled in natural cotton, Intimissimi; cotton and linen trousers, Marco Rambaldi; Eki leather boots, Camperlab.

© Luca Campri

Handmade tulle dress with macramé lace inserts, Les Copains.

© Luca Campri

Iridescent technical fabric duster, Diego M; knitted skirt with geometric fringes, Aviù; leather loafers, Church’s.

© Luca Campri

Fashion credits:
Photography by Luca Campri
Styling by Francesca Ragazzi
Model: Amrit @ Special Beauties
Hair Astor Hoxha, Giulia Cigarini make-up, both @ Close Up Milano
On set Take Off Production
Thanks to Palazzo Dalla Rosa Prati for the hospitality, and the Della Pilotta Monumental Complex in Parma, whose history and new planning are told below.


Art, theater and other wonders. More than a museum, the Pilotta of Parma (in which the photos of the previous pages are set) is a set of knowledge and values ​​unique in the world, today the subject of an ambitious redevelopment

There were already seven in January, today the construction sites open at the same time in the famous Monumental Complex of the Pilotta in Parma have risen to ten, which houses an almost unique sum of places of art and culture: the National Gallery, the Farnese Theater, the Archaeological Museum, the Palatine Library, the Bodonian Museum. The works should be completed by the end of the year, transforming the set of buildings in the center of the city from a “closed fort of knowledge for a few”, as the director Simone Verde explained in a recent interview, into a “sharing platform”. The purpose of this project launched in 2017 and never stopped is to restore a unitary and organic structure to the various cultural institutions present, making the Pilotta a museum center of international value.

The Palatine Library. Eighteenth-century bookcases designed by Ennemond Alexandre Petitot in the Petitot Gallery.

© PHOTO LUCA CAMPRI.

It is a return to the origins – “All together they represent one of the very rare survivals of an operation that led to the birth of a museum as we conceive it today”, explained Verde -, which points to the future because the collections of the Dukes of Parma were in fact dispersed since 1734, when the Farnese dynasty died out, the first Bourbon duke moved his residence to Naples, bringing with him all the Farnese heritage. And the subsequent two centuries of historical events / upheavals that have led to the increase in the Monumental Complex of cultural institutions, however, have generated shifts and rearrangements that have not simplified things. It is therefore necessary to recover the sense of the historical origins of the Parma collections, their interconnections, as well as the relationships with the buildings in which they are now collected.

The coffered vault of the Maria Luigia room (detail) with one of Giovanni Gaibazzi’s octagons.

© PHOTO LUCA CAMPRI.

And there is more, because restoring the spaces, internal and external, also means eliminating past architectural interventions that are often sporadic or out of context, and rehabilitating, better redeveloping, the surroundings of the Pilotta from the profound decay, including social, which for too many years have is scoring. An illuminating example, in addition to the permanent installation created by Maurizio Nannucci for the main courtyard of the Pilotta – 190 meters of neon to give new light to a priceless heritage – is the construction site for the closure of the portico opened in the early twentieth century towards Piazza Ghiaia, which it subtracts the space from darkness and malpractice to give it back its original three-nave shape. Work (and reorganization) is also underway at the cultural level, with three new institutes under construction. An internal documentation center that will unify in a single space the many bibliographic resources accumulated over time at the service of the scholars of the institutions of the Monumental Complex is followed by the creation of a central historical archive and a Cabinet of drawings and prints in the Palatine Library. To mark the end of the works and the restart of the Pilotta will be a great exhibition on the Farnese, a return to the origins which, symbolisms aside, aims to be the reaffirmation of the above historical values ​​of culture and beauty.

In the Dante Room, encaustic frescoes by Francesco Scaramuzza with the figure of Charon.

© PHOTO LUCA CAMPRI.

Browse the article in the May issue of Vogue Italia, on newsstands from 5 May

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