“Chille ch’e’ ncuolle a ‘tte n’e’ rroba toja”

“Chille ch’e’ ncuolle a ‘tte n’e’ rroba toja”

“What you’re wearing isn’t yours”

✢  ✢  ✢

Photography project by Riccardo Maria Chiacchio

So goes the chant sung by the washerwomen of Napoli, in one of the earliest examples of Neapolitan song, dating back to the late twelfth century.


This is a project about connections: Mothers connecting to their sons, bodies connecting to fabric, faces connecting to their ancient features.


All clothes have been washed in the Mediterranean sea and been exposes to the ashes of Mount Vesuvius, all subjects were born and raised in Napoli.

Photography & Fashion: Riccardo Maria Chiacchio (@riccardomariachiacchio)

Production & Post Production: Wonder Agency (@wonderagency__)

Casting: Theresa Salvatrice Martelli (@teresasalvatrice), Danilo Cautero (@danilocautero)

Photography Assistant: Emanuel Picciano (@emanuelpicciano)

Fashion Assistant: Elaine Bongiovanni (@foreveronlaine)


Dystopia, opposite to “utopia” (or ideal), is defined as “Forecast, description or representation of a future state of things, situation, developments, political-social and technological highly negative”. With this project, we want to elaborate the downside: a dystopian future in which the power of technology is able to cancel the “human” component of man. “What man has made of man?” We would like to sensitize the observer to a very topical issue: are we really slaves to technology? Is this depriving us of our humanity and sensitivity?

Photographer: Ruggero Lupo Mengoni (@ruggerolupo)

Videographer: Micol Locci Cipriani (@micolloccicipriani)

Stylist: Micol Locci Cipriani & Ambra Morini (@ambra.morini)

Model: Genny Casini

Sorry Jonny Died Zine Vol.1


Photography by Jonny Kaye (@sorryjonnydied)

Styling, make up and model by Megan Winstone (@meganwinstonephoto)

Link to purchase: jonnykaye.com/store

Portraits from the Other World

A collection of houses, living rooms, sofas and kitchens, along with the persons who inhabit them, photographed with the only two means: a camera and the web, to tell the life on this side of the door, or on the side of your windows.

What you’re seeing, in fact, are images of images: On one side is the photographer, on the other side are those who are photographed; a screen stands between them. An unbridgeable distance which; however, cancels out until it disappears.

The result is an assemblage of domestic portraits, intimate and private, of individuals.
I entered into the homes discretely, and, if an apartment is a space that subtracts ourselves from the world, it has transformed into a place that can be shared peacefully.

There is no longer a dimension to separate us, but one that unites us instead.

After all, these have become our homes, our mirrors, our forever shelters, in particular, our current shelter.

A “contagious” embrace, outlining the houses of the Italians, reached worldwide

Photography: Letizia Toscano (@letizia_toscano) letiziatoscano.com

Illustration: Martina Romano (@martinaromano_illustration)

Text: Letizia Toscano

Translation: Michele Rebai

Tom Ford by European Vampire

European Vampire is the last experiment by musician and model Lorenzo Sutto and producer Mark Ceiling. ‘Tom Ford‘, is the debut single and first track of the upcoming album, released on the 5th of May 2020.

European Vampire is both romantic and ruthless, both intimate and paradigmatic. It is a project originated in 2018 from the friendship and complicity of Lorenzo Sutto and Mark Ceiling, but it has always been in the mind of the singer as a cinematographic tale more than just a music product.

European Vampire is a collage of contemporary realities and its auto-biographical asset always keeps it non-linear. The songs follow the development and the growth of the character through his personal experience, as a romantic antagonist that one might find on a night of debauchery.

Every song of the upcoming album represents a different moment of European Vampire’s evolution and metaphorical journey towards self-awareness as a post-contemporary society consumer. ‘Tom Ford’, the single out on the 5th of May, is presented as the first chapter of this dystopian tale.

‘Tom Ford’ is youth, lost innocence and consequential abuse of power: European Vampire is a monster already and introduces us to his cruel pastimes. ‘Tom Ford’ is the unsettling stamina of perfection. Surrealist and schizophrenic, French language recalls the fashion world and its Parisian after-parties. The brand’s name is an homage to the bold aggressiveness of the early 2000’s.

Photographer: Aurora Manni (@aurorarossafiammante)

Talents: European Vampire (@european_vampire)


Recording #quarantine

trench BURBERRY, mesh gloves MM6, latex leggings DEAPAGANA, PVC jacket & black dress ZARA, black gloves stylist’s own, rings PELLINI

Styling, Art Direction & Videography

Vanessa Bartalesi (@vanessa_bartalesi), Micol Locci Cipriani (@micolloccicipriani)


Fondazione Marangoni’s Student & Paolo Cagnacci


Vanessa Bartalesi


Eliza (@elizavetalisa)

Churches: a contemporary portfolio

Photography by Stefan Giftthaler

Why photograph Milan’s contemporary churches?
The story of a unique architectural ensemble.

“First I drew a box that looked like a house. I could have been the house I lived in.
Then I put a roof on it. At either end of the roof I drew spires. Crazy (…)
I put on windows with arches. I drew flying buttresses.
I hung great doors. I couldn’t stop”.

Raymond Carver, Cathedral

What is a church like today? American architect Peter Eisenman posed just this question in his design report presented upon invitation to the International Architecture Competition for the Church of 2000. But the question one should ask, as he himself admitted, is different. What is architecture like today?

Speaking of religious buildings entails going beyond the spiritual value of the work. And this holds particularly true in the archdiocese of Milan, the sole commissioning party, unique not only due to its size (encompassing more than 1100 parishes, it is one of the largest dioceses in the world) but also to its liturgy, which is Ambrosian, different from the commonly adopted Roman rite.

The churches portrayed in this project, built since the 1950s, tell a significant part of the history of Milan and its outlying areas. They tell everything from the burgeoning population after World War II up to the Catholic Church’s new requirements for renewal and dialogue with contemporary times, expressed by the Second Vatican Council. Yet there is much more. This unprecedented itinerary brings out a special time in architecture. A series of well-known designers, including Gio Ponti and Cino Zucchi, or even unknown designers, are anxious to experiment with new formal languages and measure themselves up to the complexity of a building whose function is declaredly representative and must respond to specific codes and values, in aesthetic, technical, and semantic and liturgical terms. The buildings selected are striking due to the variety of the solutions expressed. The materials, the light, the compositional geometry and the colours all hinge around an unvarying cannon. If there is any common element to be found in these spaces — sacred and inhabitable alike, physical and spiritual alike and therefore finite and infinite alike — it is subtraction, understood as the ability to condense.

From the centre of Milan to Varese, through the various parish churches in Milan’s archdiocese, the anti-rhetorical work of photographer Stefan Giftthaler, curated by the Anticàmera agency, aims to generate a mapping of the territory that brings to mind a re-appropriation. It is an analysis that rediscovers much loved and much hated architecture, never trivial but often undervalued. As integral parts of neighbourhoods and small villages, the churches chosen stand as points of reference in the everyday lives of their communities. Whether they are lay or believers it hardly matters. Because Milan, like Proust’s Combray in In Search of Lost Time, “was no more than a church epitomising the town, representing it, speaking of it and for it to the horizon”.

Text by Annalisa Rosso


Stefan Giftthaler

Music, sexuality and future

DJ Hell brings us to his universe.

After a three year silence Helmut Josef Geier aka “DJ Hell” is back with his new single “I Want You”, from the upcoming album “Zukunftsmusik” that will be released next spring. The devil at the service of love, for a while leaves hell and tells us about himself.

Hello Hell, how are you?
I am fine, thank you.

What do you see in front of you at the moment?
Right now at home, in my living room – with lots of records, magazines and a big photo of Andy Warhol on the wall.

I’ve seen and loved your “I want you” video, already a success on the web. I have been really surprised to see Tom of Finland’s drawings. The world of gay visual art is so big, so I am curious to ask you: why did you choose right him?
Tom of Finland is a superb artist. To me, personally, he is one of the most influential and groundbreaking artists of the last century, simply because Tom´s paintings and fantasies have opened doors for so many people all around the world.

In addition, all my work and my world are based on gay culture, since house music was produced and played by homosexual men and the club culture itself started in the late ’70s gay discos & clubs scene in NYC and Chicago.

Therefore it was just a logical step to enter into a very fruitful partnership with the Tom of Finland Foundation.

The pop aesthetic seems to fit really well the synth: is the electroclash easier to impress through images?
I totally agree with the pop-art aesthetics and feel very honored that more and more people really understand what I am trying to say here.

It also fits with the electroclash image, a musical genre invented by myself and my label International DeeJay Gigolo Records.

The company has been using images of naked cowboys for many years, while in 2003 I signed a deal with beautiful Amanda Lepore to be the logo of my company. Most of the producers and DJs inside Gigolo came out of the queer world and for us there was no difference nor barriers.

Also the showy sexuality is fit for your music. Do you think talking about man-to-man love is still worthy?
Dance music without sexuality doesn’t work out at all, and as for man-to-man love, there is never talked about enough in this world, so I am following Tom´s words: “I want to show that gays can feel happy together – that they have the right to be happy together”.

Let’s talk about music. Where did your first album single “I want you” take inspiration from?
To me I wanna represent the past, the present and the future. For this song I went into the early days of techno and at the same time I took a close look into the future.

I call it proto-techno but this will not entirely reflect the whole album which is coming up this spring.

Your music comes from the ’80s and it seems that the ’80s are ending with this 2016, a year that will be remembered for the tragic losses the world of music has suffered.
I agree. It was a shock for everybody and myself to lose David Bowie, Prince, George Michael, Alan Vega, Lemmy, Leonard Cohen, Vanity, Leon Haywood, Pete Burns, Colonel Abrams, and many more.

Tell me about your next album, where are you going to take us after Fukushima?
The new album is called “Zukunftsmusik” and the title says it all already. I put all my DNA in there and it will be very personal.

If the album is really going to change the world – I don’t know yet.

What time will you wake up tomorrow morning?
11:00 or 12:00… It depends, because when I travel and play the same night and do this since 35 years all around the world, I need to sleep 9 hours a day to recover.

Most of the time I take out the last flight possible to get a long sleep!

Interview by Daniele Pratolini

Big thanks to Nadine Dinter

Photo by Daniel Mayer


I saw but I see but I saw you drawing, drawing, drawing.

Antonio Marras, who rises against “purisms”, is about to invite us to embark on the voyage, a nomadic voyage to the land of memory: silence, voice, silence. He questions with intellectual curiosity an anarchic, chaotic and erratic female figure. Antonio Marras, speaking the language of experimentations, takes us through his footsteps, (re)elaborating the seen and unseen artifacts, drawings, paintings (… that do give witness to the emotive realities of the narrator). Through a series of installations, he illustrates his researches, defining and redefining the nature of the fashion alphabet as universal: fabric, frame, fabric.

Antonio Marras: Nulla dies sine linea, an anthological exhibition curated by Francesca Alfano Miglietti, opens its doors at La Triennale di Milano today October 21.

You saw me, me waiting, thinking, waiting for you to draw me in waters of restlessness.

by Marco Martello