I have a deep love for Marcella's works. I met her while being an intern at Maison John Galliano. She comes from Guademala, now living in Spain. Marcella was fortunate enough to work also with Alexander McQueen.
Dear Filep and iDEALS, by Gentucca Bini is the new project of Italian fashion designer
Gentucca Bini. It comes from the need to establish and intensify the
relationship with the objects. Gentucca Bini mixes her style with the
style of different fashion designers: re-branding becomes a renovation
Placing her style over a different brand, a style which will change
every season, like in a prêt-à-porter collection, Gentucca gives new
life to past fashion collections, producing slight but incisive changes,
to respect their history, to re-create a relationship between the
customer and the product, to start again from fashion, from the act of
its birth, to interact with the past and make it fashionable again, to
ensure the future and protect the memory, to make the product more
personal and unique, without forgetting the funny aspect and the irony.
11.06.2010 and 12.06.2010 from 10.30AM until 6PM
Bring your designer clothing, during these three days Gentucca Bini
will be present at her installation with three colleagues to give new
life to your old designer pieces!
I don't know. I feel so blessed, it's
so unexplainable the love that I feel for my fans and how they treat
me. The videos, the notes, the artworks - the other day I spent hours
reading through all this and raving about how talented and lovely my
fans are. Love is a symbiotic thing, especially when it's real. Perhaps
it's just very real - I put love into my fans, and they give love to me,
and we continue to give love back and forth forever."
Dear Filep and iDEALS, Cosimo Terlizzi is the director of the short film BEAUTY, part of ASVOFF by DIANE PERNET with VOGUE Italia.Click here and watch his former film REGINA IRENA, with which Diane fell in love with when she first came across his works ...
Barbara&Marino - You're talented and young: did you expect you could be selected for this important venue among such very famous names? how do you feel?
Cosimo Terlizzi - Thanks for considering me young, nice of you. Things happens by chance, but it’s we decide which one to take. Everything started at Traffic Gallery in Bergamo where Stefania Seoni appreciated my works and posted pictures of them on Diane Pernet’s blog. Mme Pernet loved them as well (especially Damien the animal boy and video Regina Irena), and then asked me to participate to Milan Asvoff. Of course that thrilled me, but most of all I like this exciting cyclic ups and downs that this job gets.
B&M - Fashion is definitely moving towards new forms of expression and promotion, video art as first: how do you relate with fashion? is it something you've always thought to deal with?
CM - Being a figurative artist I consider videos the best contemporary way to promote art.
My personal view on it is made of my surroundings, and in them I find fashion.
Fashion inspires me but as a way to express myself rather than a worship of it.
And as I said I love this never ending circle motion between its ups and downs: fashion lives dies and then lives again. Unfortunately this also means ugly consequences, let’s think of Russia or China, and the “human price” they pay for their aesthetic hunger. But I think things are gonna change: sustainability is the key nowadays; people long for something caring for costs and price, for affordable limited editions, they’re becoming more conscious of what they wear; luxury brands are no more that attractive.
B&M - Tell us shortly about you: where do you come from and how you got where you are now?
CM - I’m Italian and I was born where I shot Beauty, in Bitonto, Bari. It was a house out of the city actually. Uneven roads, sunny and dry. It was a rough life in a way, but also passionate and serene. I left when I was 19. Then it started my artistic life.
B&M - Quite a few Italians for ASVOFF contest: a new Italian wave is born?
CM - Well, Italy is not at her highest. Her history is becoming really tough at the moment, also because we use to deal continuously with the past, that will never come again. Artistically speaking time to change has come, in a way we’re avenging the darkness in which we have been laid for so long in.
B&M - Any collaboration for you in the future? which ones?
CM - I’m now promoting my film Folder, where amazing artists, as Christian Rainer and Massimo Carrozzi, accepted to be in the crew. I used all I did during last past year (pictures, low-fi videos, chat, mpeg-a). It’s a complex work about our generation and its new target.
Portrait of Cosimo and Mme Anna Piaggi by Jacopo Turrini 2010
Barbara&Marino: How do you rate MILAN venue of ASVOFF so far? Everything
went the way
DianePernet: The location and the collaborations were perfect. I met
Finazzer Flory, from the Cultural Ministry when I curated the Michael
exhibition last month at 10 Corso Como. I showed him the teaser for the
exhibition; he liked the idea so much that he gave us the entire ground
of Palazzo Morando, Costume Moda Immagine. Like the rest of the planet,
always loved Italian Vogue so to collaborate with them was a great
Federico Poletti had the idea to bring ASVOFF to Milan more than half a
ago; he made it happen along with the participation of Lancia, the
Italian Vogue. To answer your question, I think this was our best
Barbara&Marino:Your experience has taught
us there are hidden places where to discover
interesting scenes and talents: do you think asvoff could take place in
cities in Italy than Milan? If yes where? And if not why?
DianePernet:My festival has traveled
around the planet that is the nature of ASVOFF
so there is no reason that it could not take place in another city in
There is a request now for a screening in Rome; the only possible
the moment would be the timing.
Barbara&Marino: The first decade of 21st century is almost over, talking
has a completely different meaning than 20 years ago: what kind
you see for the future and what does ASVOFF mean to fashion?
DianePernet:The changes that have
happened over the past few years amount to nothing
less than breaking down an old wall. It’s not likely that fashion will
to the exclusivity of showing to the rarefied few. What the future
innovative ways of showing fashion and of course, the increased
fashion films. What ASVOFF means to fashion, I don’t want to sound
so let’s just say a continued launch pad for emerging and established
Barbara&Marino: It must have been hard to select good works among the huge
received: which is the line you feel one should trespass to be original
authentic (not then just a fashion follower/victim)?
DianePernet:With any open calls you
receive a lot of films that you know immediately
will not make the selection. There is no magic formula for what works
does not work, I base my choices on my own instinct. It either works or
doesn’t, if it makes me feel something that is already a good sign. I
like to give to many boundaries I want to be surprised. Originality
lot, so does the way the film is crafted, the director of photography,
styling, after all it is a fashion film festival, the hair and make-up,
editing and the music are all important in the appreciation of a good
remember receiving a film from LA a year or more ago, all the elements
great, there was a story, the acting was perfect and so was the editing
lighting and the sound design but the problem was the clothes were not
The fashion needs to play an important role in the film. I tried to
problem to the director because I really liked his film but I don’t
Barbara&Marino: Your path to where you belong now has been quite an
beautiful one in a way: do you see any mistake you wouldn't do again?
DianePernet:I follow my passions and
that is not necessarily the easiest route. What
is important for me is to be free to do what I want to do. It makes for a
beautiful adventure; however, you pay a price for that freedom. No
don’t think I could imagine my life any other way.
Barbara&Marino: What’s avant-garde for you
DianePernet:Someone that writes his or her own destiny, in fashion
immediately think of Rick Owens. Doing things in an original way be it
fashion or film is what makes something new and ‘avant-garde’. When the
Director Mike Figgis made Timecode and choreographed 4 cameras on one
without any cuts that was avant-garde. Gaspar Noe’s film Enter the Void
cinematically avant-garde. The LIGHT film Sunshowers could be called
avant-garde in the way that Elisha Smith-Leverock works with light,
and sound or Erwin Olaf’s way of dealing with emotion and the surprise
could also fit that brief. Andrea Splisgar, the German performance
filmmaker is always pushing the boundaries and in the end maybe that is
the word ‘avant-garde’ is really about.
Dear Filep and iDEALS,the new book of fashion photographer Kristian
Schuller entitled “90 days, one dream” will be released on the 4th of
The offer: 90 days, traveling to the most beautiful places in the
world, accompanied by young girls full of dreams. An unusual and
exciting challenge for fashion photographer Kristian Schuller that
inspired a daring project parallel to his participation in the TV show
with Heidi Klum.
The idea: A separate book project with the girls, photographed during
shooting breaks in the television production.
The result: A road movie of fantastically staged photo shoots, an
adventure that for everyone involved became mainly one thing in the end –