La Déglingue

red knitted jersey, jean short QUAZAR

La Déglingue is a series that documents the scheduled disappearance of old cars in the area called Grand Paris.

Grand Paris is an infrastructural mega-project that spans over the city of Paris and the neighbouring districts. The fast-paced modernisation of the territory in question includes reform plans such as the metro grid expansion, the multiplication of cycling lanes on every road and an overall greener transportation network.

Along with these reforms, last year, the Council of Grand Paris enforced a progressive ban of diesel-engined cars older than 2003, for they are deemed too polluting.

In the coming years, as intended by those who want a future bereft of cars for Paris, more cars, old cars, gasoline-powered cars, will vanish from sight.

La Déglingue aims at photographing one last time these beloved cars before bidding them farewell in the name of a more modern modernity and a greener future.

Photography, Art Direction & Fashion: Maxime Michelet (@maxime.michelet) maximemichelet.com

Models : Malick (@malick.bgr), Selma (@selma_name), Costa (@costabrou), Garance, Baptiste, Bastien, Rémi (@remi100famille)


Berlin Commercial 2021

Grainy, psychedelic, and somber. From the prowess of FKA Twigs in her pole-dancing performance and the roll of marijuana cigarette for Billy to unwind to in 2019 to the visitation of porn performers to a minor’s home and the eye-less society before registering for a new credit card and a fresh pair of eyes in 2020: Berlin Commercial celebrates and curates the state-of-the-art filmmaking, this time for the third year starting August 10 until 14 in Berlin.

 

As CAP 74024 speaks with Philipp Ulita, the festival’s Managing Director, he unveils how the global community of creatives keep seeking to create timeless and universal experiences through moving images, the extension of the theme The Age of Collaboration, and the reason behind its doctrine of highlighting mind-bending ideas, emotionally engaging stories, and well-crafted execution.

2019 Berlin Commercial Music Video Marbled Pick One Title Holder: FKA twigs – Cellophane

2021 Berlin Commercial Commercial Work Shortlisted: Burberry – Festive (Directed by MEGAFORCE)

2021 Berlin Commercial Commercial Work Shortlisted: Monza – Monza (Directed by Simon Gustafsson)

Hi Philipp! I hope everything’s well. Commenting on the new edition, you mentioned that you were building a community of talented creatives with similar values and mindsets. What are these mindsets and values? How do they help build a more inclusive community and growing audience?

 

Berlin Commercial’s network consists of people who are constantly looking for new ways to express their own visions and always managing to include others in their passion, professionalism, and interpretation of work.

 

It’s natural to adopt mindsets and values where we always strive for the best and highest possible standards and constantly stay open to new ideas while working with the tools at hand to create timeless and universal experiences, pushing us forward collectively as humans and culture.

 

These are the foundations of our creatives’ works and projects, which are the same for the festival that serves as a platform for all these whip-smart people out there. Every year, we’re more than impressed curating the submitted work. The films deserve to be showcased in an adequate manner; that’s our job. Inclusive communities and growing audiences happen if something is done honestly and continuously.

 

Thank you for highlighting your values and mindsets! These related to what Berlin Commercial takes on, which is the ongoing visibility and easier access to creative talents and revolutionary storytelling. How do you define revolutionary in storytelling, and why do we need it in our video content?

 

Well, the creators don’t compromise. They have a knowledge of film language and aesthetics, and take inspiration from all possible sources: high art, fashion, photography, literature, and on the streets. Equipped with a natural curiosity, they use and share their skills for the greater good. This persistence alone is revolutionary. You can easily spot a copy-paster. Why do we need original and straight-forward video content? Because anything else is boring and brings us nowhere.

Right! When you mentioned that anything else was boring and brought us nowhere, it reminded me of the event’s doctrine, which lies in ‘highlighting mind-bending ideas, emotionally engaging stories, and well-crafted execution.’ Why do you search for these ideas and what do you aim to convey to your audiences?

 

Being active across different media landscapes and styles means being able to select the right inspiration for the right moment. Sometimes, it’s a puppy video; sometimes, it’s something more provocative. There’s a lot of content out there asking for our attention. What we provide is a highly curated selection of films and people involved. Just look at our jury line-ups and guests. In the end – next to all the glam and fun aspects – awards give structure, orientation, and open up new possibilities to connect with other creators and audiences.

 

Speaking of connecting with other creators and audiences, the new edition launches an Instagram channel to provide visibility to culturally relevant video content all year round. It also becomes the medium to connect with the global audience. How and why did the transition to a social media platform occur?

 

It’s more of an extension than a transition. We still have all the nominated films featured on our website. The new instagram channel has some benefits that a website doesn’t have. The main one? The handling. You can link all credits to the personal accounts and you can swipe from top to bottom and films start playing right away. No loading time – just an immediate effect. You can share your film as a business card, you’re featured next to other outstanding projects, and if you’re using it on your smartphone, your remote control is simultaneously your viewing device. Long story short, visibility is key and again, the films, being stimulating as they are, deserve every view and like they can get!

2021 Berlin Commercial Commercial Work Shortlisted: Christian Louboutin – LOUBI AIRWAYS (Directed by Victor Bastidas)

2021 Berlin Commercial Commercial Work Shortlisted: The North Face x Gucci – The North Face x Gucci presented by Highsnobiety (Directed by Fiona Jane Burgess)

2021 Berlin Commercial Personal Work Shortlisted: Heartbreak 101 on Schön Magazine
(Directed by Christophe Dolcerocca & Mathias Hovgaard)

As you create a cultural space, visibility is surely a target to eye! By the way, what topics of culture, art, business of commercial filmmaking, and content creation will Berlin Commercial highlight this year? Why does the summit desire to underscore these subjects?

 

Well, we’re still facing some limitations due to COVID, but in 2020 we came up with a new concept to host a real festival with in-person, networking possibilities relevant to our industry. Normally, we would have curated panels and stages; what’s happening now is having production companies and agencies all over town open their doors for screenings, talks, drinks, and music. This decentralized concept includes a shared responsibility and allows smaller groups to discover beautiful studios, beautiful people, and. of course, Berlin. We are preparing it right now. The dates for the festival are from August 10 to 14.

 

Turning towards one of the cultural issues the summit supports, the Berlin Commercial award trophies are produced using plastic waste – LDPE – that is usually not recyclable. Aside from this, how does the summit promote issues concerning the environment and sustainability?

 

We don’t promote them. In other words, we don’t preach. Our submitted films tackle these issues, and we curate and boost their visibility, same as other important topics like gender equality. Things come naturally, and we believe that inspiration preaches in a modest way.

 

Measuring sustainability in the event sector is not quite transparent and developed yet. Since 2020 -when face masks, lockdowns, and vaccinations started to influence our daily life – experience and big events, except for soccer tournaments, don’t take place, so any answer wouldn’t be representative, and a digital footprint is still a footprint.

 

Offering hybrid events includes a lot of planning and organizing on fronts which a regular festival can skip. Since 2020, the event and film industries have had to adapt to new challenges. These developed quickly, so from today’s point-of-view, the main thing we do for sustainability is to live it ourselves and trust in others to understand the urgency and do the same. Yes, we believe in intelligence.

The Berlin Commercial Awards recognize three separate category sections: music videos, personal projects, and commercials. In what ways do the jury and the summit provide support for every submission all creatives sent?

 

We separated categories into three sections since, for example, commercial projects and music videos were competing in the same categories. Also, the financial situation for each project differs greatly. We wanted to give personal projects, passion projects, and music videos their own stage and more air to breathe to get the right attention, especially when it comes to the craft categories.

 

In what ways do the jury and the summit provide support for every submission all creatives sent? Well, what we do is offer free strategic advice, which means that the creative teams can send us links to their projects before entering, and we have a look together on how to position them right in the given categories. Creative teams tend to rush into the main categories such as direction, cinematography, and best music video, but casting and sound design, production design, or visual effects are important too and also carry the message of the final films.

 

Long story short, we believe in team effort; this includes the submission process as well, and a nomination is a nomination, a win is a win.

 

Berlin Commercial is back for its third edition after a successful run in 2020 with the theme The Age of Collaboration. Is this theme still present this year? About the summit’s future, are there any avenues you would like the summit to venture into? How do you envision its growth in the next couple of years?

 

The theme stayed as it is. We still have to collaborate and work within the given circumstances. The future? In 2020, we opened a new platform for four-Minute video keynotes, which we feature on our website, Instagram TV, and Vimeo. We will, of course, also come up with new ways to engage with our audience.

 

As far as physical events are concerned: in January, we separated the fashion film category and gave it its own runway now. Berlin Fashion Film Festival is on again; we’re just producing the trophies for this occasion now. So yes, we’re growing in different directions, but we always stick to celebrating creativity and outstanding talent. Once bigger events are possible again, we’ll have shows with more performance art, stagecraft, and music, and, of course, more in-person networking and rubbing elbows with cool people. Choosing the right outfit for an award show and after party, your own film on a big screen, the first shy dance move, queuing up at the BAR – all that again with hopefully less restrictions soon.

2021 Berlin Commercial Personal Work Shortlisted: Somebody for Dominika Kazakova
(Directed by Jordan Blady), previously featured on CAP 74024

2021 Berlin Commercial Music Video Shortlisted: Megan Thee Stallion – Thot Shit


Text & Interview by Matthew Burgos

Edit by Yves Tsou


Habibitch

Habibitch

Photography | Pauline Scotto di Cesare    Styling | Clotilde Franceschi


A French Algerian dancer and choreograph, a Queer feminist and activist. Habibitch uses dance, and her body as a medium. She always denounces through her practice of waacking, voguing and debates – A creative with one aim/goal: « to decolonise the dance floor. »

jumpsuits LEILA NOUR JOHNSON, shoes AMINA MUDDI, earrings AIR OUANE

Hello, Habibitch! How are you?

I am great, thank you. I just came back from work and now I am here, ready to be interviewed. 😀

 

Thank you for the kind words, could you introduce yourself a bit to us?

Hi, I am Habibitch. I am French, and also Algerian. I am an immigrant, a queer, a feminist and a body-positive and LGBTQ+ activist. I am a dancer, a performer, a choreographer, the Godmother of House of Gorgeous Gucci in Paris, a Sociology teacher in Science Po Paris, and an author-to-be.

 

You have indeed an interesting name! How did you come up with the name “Habibitch”? Wouldn’t you worry about offending a certain group of people?

 

I know you like that name! Don’t you? Actually it was my friend who inspired me to name myself “Habibitch”. It perfectly links my heritage with my identity. Habibi is a common word in Arabic, meaning “my love”, “darling” or simply a greeting. We Arabic speakers use it in our everyday life. Combining Habibi with “bitch”, the stigmatizing slur that people normally use to verbally abuse women (or people with feminine characteristic) is definitely controversial and offensive to some people, especially to those conservative ones in the Arabic Community. However, I don’t care what they think, what matters is how those people who I care and love think. “Habibitch” is a combination of my origin, my career, my passion and my identity. It’s the perfect encapsulation of who I am.

When did you realize that it was the art form that best represents you?

 

Dance is definitely the art form that best represents me. I realized it when I started to perform waacking and vouging in ballroom. I feel completely liberated and emancipated while dancing, and I can fully express myself through the dance moves. Even though debate and verbal communication are a common way for me to battle against the “heteronormative and racist culture” that is rooted in the contemporary French society; dance is the artistic, non-verbal action that I adopt to “decolonize the dance floor”.

 

Aside from dancing, do you also practice other art form to voice your debate and spread your view?

 

Yes sure. As I mentioned before, I am also an activist and a Sociology teacher. I incorporate my dance background to my professional life. I teach my students in the Sociology class to express their point of view, their observation and their philosophy through their dance flow and body movements.

 

Body is the medium of your dance performance, what is the relationship between your body, your perception and the messages you wish to convey?

 

My relationship with my body is very close, and I love to use it as a medium to express my thoughts and moods. I love the feeling when my mind is connected with my body.

As an activist, body positivity is one of the messages that I wish to convey through my body. As you may see, I don’t have a body shape that fits to the concept of “perfect body” that the general publics conceived. It is even worse when fashion brands and media perpetuate this “beauty standard” through campaign, advertisement, print issue and social media. That’s why I barely work with fashion. But I am happy about my body, and I would love to challenge the idea of “traditional beauty standard”, to change people’s perspective of how a “perfect body” supposed to be, and to inspire those people who doesn’t have the “perfect body” that media and brands promoted.

total look vintage

Immigration, modernization and globalization have for sure galvanized the restructure of the contemporary Parisian vibe, which is different to the stereotypical Parisian that the world has perceived. For you, what is the new “Parisian Style or the “Parisian Style in the making”?

 

France has a very heteronormative and racist culture due to its colonial and religious background. The contemporary “Parisian style”, a more multicultural, multiracial and diversified modern Parisian imagery has already existed, but it was often disregarded and left unnoticed by the society – a very white, catholic, upper-class heteronormative mindset propagated by the government and the mainstream media.

However, I’ve noticed that the gaze from the public is gradually changing. There are more and more people of color, religion, sexual minorities and unconventional icons who come into the limelight, gradually changing the “Parisian” stereotype. But we still have a long way to go before finally changing the whole colonial, patriarchal and xenophobic social climate. And that’s part of the leitmotif of my motto “decolonize the dance floor”.

 

As a central member of the Paris ballroom scene (which most people around the world might not be familiar with), what is your observation to the Parisian ballroom culture?

 

Actually, Paris has a very rich ballroom culture. It is one of the most colorful and vivacious ballroom scenes in the world, second to those in the United States. The success of “RuPaul’s Drag Race” introduces this African and Latin-American LGBTQ+ underground subculture to the public, but in fact, there is much profound cultural context behind it. Many people conflate the idea of ballroom culture and drag ball culture, but they are actually two different scenes. In the Parisian ballroom scene, drag or cross-dressing performance is not necessary; competition for the trophy is not a must; and the members are not solely from the LGBTQ+ community. Ballroom welcomes everyone, and I am a proud member of the community, the godmother of House of Gorgeous Gucci. I used to go to balls to meet my friend, to enjoy my night with music and dance, and to leave alone in the early morning without saying goodbye to them. I really like this kind of feeling, because we will for sure meet again in the next ball. And I am happy that Paris is the city that embraces it.

So In a way, Paris is literally burning! As an LGBTQ + and body activist, you fight for the rights of the minority communities against all kind of discrimination. What are the difficulties you’ve encountered while voicing for them?

 

Of course there are. Even though we are in 2021, there are still a lot homophobic, misogynist, racist remarks and hate crimes happening everyday. Colonial and patriarchal white hegemony is still quite influential in France’s culture. I’ve encountered people who dislike my name, my appearance, my debate or the ideology that I represent. However, I don’t care about what they think. I am professional, so when I am working on something, I can dedicate myself fully into it without being effected by the slanders and slurs. I am also a caring person. I care about my friends, my community and my ballroom family; they are the person who I love. And for those haters, I really have no time for them.

 

Thank you for the brilliant elaboration, we really enjoy our talk with you. Before saying goodbye, we would love to know what are your plans in the upcoming future, and your own artistic career?

 

I have many projects going on right now, and some of them are still confidential. But I will for sure continue to dance, to attend ballroom (of course during the lockdown it is impossible), to teach and to advocate. One thing I can tell you is that, I will soon have a new identity – an author. I am going to publish my first book in the upcoming future, I cannot disclose too much to you right now, but I am very excited about it.

 

What an exciting news! Congratulations Habibitch. We are looking for your new book and we cannot wait to hear more from you in the near future. Thank you so much for the interview today. Have a lovely evening!

underwear ERES, necklace AIR OUANE


Talent: Habibitch (@_habibitch_)

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Photographer: Pauline Scotto di Cesare (@paulinescottodicesare)

Stylist: Clotilde Franceschi (@clotildefranceschi)

MUA: Thierry Do Nascimento (@thierry.do.nascimento)

Hair: Andrea Idini (@andrea_i_hair)

Nail Artist: Pablo Esconails (@pabloesconails)

Producer: Miriam Haddad (@saint_lucyfer)

Assistant Producer: Camelia

Interview by Yves Tsou


Close to Me: Interview with Cori Amenta

jacket & skirt ELISABETTA FRANCHI, shirt P.A.R.O.S.H, jewelry Cori’s own

Close to Me:

Cori Amenta Interview

Photographer: Ilenia Modica

dress THE B., shoes CORI AMENTA

When did you decide that fashion was your way? What is your earliest memory related to it?

 

I was born and raised in my mother’s boutique and tailors shop; it was here that I first felt an unbearable need for fashion, elegance and levity. Within the years I understood it’s the most immediate way to get closer to the status we’ve been aspiring for since we were young: after all, we only are our true selves when we’re naked or under the shower; besides that, we just dress up as who we would want to be. And this goes both for housewives and lawyers.

 

 

What does it mean to be a trans woman today in fashion and in Italy?

 

Trans lives in general have to take account of other’s prejudices, in every sector. Also within the fashion industry, which is obviously a gold cage at almost exclusive gay use, and we (really few) have to struggle way more to get to things that for others might be often expected and given for granted.

shirt P.A.R.O.S.H, belt ONE LOVE BELTS, pants PIERRE MANTOUX, bag TARÌ, sunglasses MAX & CO

What would you change about this industry to make it truly inclusive, beyond the often façade claims on social media?

 

This is a complex question that would require specific studies on the subject matter. What I, independently of my lack of knowledge in the field, would want to succeed is talent – which is not strictly related to “connections”. Italy is still very attached to this mentality, it’s probably part of our dna, I don’t think it will change, at least not immediately.

 

 

During the just-concluded edition of the Sanremo Festival, you dressed Achille Lauro. Already last year, his eccentric stage presence and the artistic looks curated by Alessandro Michele had been harshly criticized and misunderstood. This year, even some members of the Church have spoken harshly after the symbolic kiss on stage between Achille and his producer Boss Doms. Do you think that musical icons as Lauro can really contribute to the breaking of homophobic retrograde cultural barriers in a country as traditionalist as Italy?

 

Starting by saying that Achille Lauro wore a pair of shoes from my collection which Nick Cerioni, his stylist, chose for him, I have to say that – despite being all references tied to 70’s stars (from David Bowie to Renato Zero) – I believe a new energy in a conservative theatre like the Ariston just lightened a long heavy show. I’ve seen so many alternative couples this year…will it be a new trend?

dress THE B., shoes VIRILI

skirt, leotard, coat, collar & bag CLIPS, boots VIRILI, earrings stylist’s own vintage CHANEL, sunglasses GUCCI

bodysuit & skirt ADELBEL

You are a multifaceted character, you will soon launch a series of ceramics and objects born from the Sicilian tradition filtered by your creative eye. Where does this project come from?

 

One thing a lot of people don’t know about me – distracted by my shoe collections or my styling work – is that, many years ago in Syracuse, I attended Art Institute specializing in plastic art decoration. Conceiving a ceramics collection was immediately thrilling to me and I realised something I had studied with great passion.

 

 

Milan is your professional headquarter and the city from which you were adopted, but your origins are Sicilian. What does it mean to be Sicilian for you and how do you see the present and the future of this beautiful island?

 

I’m a genuine Sicilian who has established in Milan many years ago. Here I found work, love, I have a house…but my roots are in Sicily, I always go back, I have family. My ceramics collection will be produced between Caltagirone and Noto, I’m developing a series of activities that will allow me to enjoy my beloved land way more. Obviously my Milanese reality will continue to stay – as in all respectable adoptions, Noto is were I was born, but Milan is were I grew up, it’s my full-fledged mother.

kaftan & bag PESCEPAZZO, shoes VIRILI

In which other fields, besides fashion and design, would you like to range?

 

Other than my shoe collections and my collaborations as a stylist, I also design settees for a renewed Italian company , I’ve just finished a capsule collection that will be on sale this Spring/Summer 2021 for a famous Italian brand, I’m designing along with my architect two villas in Sicily, I have just signed a contract with a record label for a new Italian singer (very talented)…I would like to do more, way more even if honestly I think it’s already ok, don’t you think?

 

 

The line of shoes you created was born from your, and many models, personal need: namely the lack of aesthetically relevant footwear above a certain size. Are there any other needs that you have not yet answered through your brand?

 

My collection was born from a very serious logistic issue: the lack of cool footwear over size 40. Obviously I also sell classic sizes, I would love to also develop an accessory line and, why not, clothing, but given the moment we’re living…it’s better to remain with our feet on the ground and be thankful to have survived one of the worst moments ever happened. Let’s talk about it next year! A sincere hug and thanks to all readers of CAP74024 ❤️

dress ADELBEL

bra CHANTAL THOMASS, gown with belt CHRISIAN DIOR BOUTIQUE

Talent: Cori Amenta (@coriamentaofficial)

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Photographer: Ilenia Modica (@ileniamodicaphoto)

Stylist: Enrica Miller (@enricamiller)

MUA: Elena Gaysina (@gaysina.elena)

Hair Stylist: Mirko Battipaglia (@mirkobattipaglia)

Lights: Alessandro Pardo (@pardo_alessandro)

Interview by Mattia Cantoni


Fear and Freedom

FEAR AND

FREEDOM


"My name is Maria Kazikhanov. I'm a Russian photographer/filmmaker living in NYC. In support of political prisoners in Russia (ans also in Belarus) my team and I made an Art Project - Fear and Freedom.

With this project we want to bring attention to what is happening in Russia right now - that thousands of people are being arrested, poisoned, jailed and tortured just for having a different political opinion or different look, for posting and reposting in social media, for being on the street at a wrong time and even for being silent.

This project is very personal to me beacause my husband was severely beaten for being on the street at the wrong time and tortured by Russian police for wrong nationality... I wish I could come out to the peaceful protest in Russia, but as soon as we come back we will be arrested for having a different political opinion, for believing in freedom. So the best I can do is this project to let the world know that thousands of people are suffering in Russian prisons, right now..."

Photography: Maria Kazikhanov (@photoshurup)

Styling: Elena Nigmatullina (@_nevaneva_), Olexandra Kozel-Potatuieva (@alexiskossel)

Make Up: Veronica Volkova (@yourmakeuppoet)

Producing: Nikolay Popov (@kolyan2202)

Models: Tatiana Danilova (@tatiana_dani_lova), Victoria Zhambaltarova (@victoria.yur), Alexandra Bryukhovskikh (@alexagoldman192), Mila De (@milade___), Veronica Volkova (@_loveronica__), Zlata Grek (@zlatochkag), Nikolay Popov (@kolyan2202), Darina G


Camilla Filippi

Actress Camilla Filippi has been present in our memory for almost 20 years, but she already started as a young girl, with commercial spots (as the one for Barilla, when she was just 12 years old, in 1993, where she appears, obviously around a laden table, together with an American guest, Kevin Sorbo, who later became famous as the Hercules on small screens, ed). How did the desire to devote yourself to the “seventh art” come about?

At school. When the schools still worked (laughs). I attended an experimental school, three days per week, in the afternoon, there were activities related to theater, visual education, computer technology. The passion was born there, and as a result I told my mother that I wanted to become an actress: a choice she supported, even though I was not part of a family linked in any way to the show business.

An admirable choice… Shouldn’t that be, after all, the role of a parent? Supporting children no matter how remote those choices may seem to us? 

I was also very young and I am convinced that when you are 20, if you have a dream, after high school, it does not cost too much to try making it come true, to try to see how it goes. Even if it goes wrong, you have a life ahead to get back on the tracks…

The quality of your career path is in your eclecticism: you acted in films designed for TV, TV series, cinema’s movies, in comic and dramatic roles: what attracts you to a character? How do you choose the roles that belong to you? 

Let’s dispel a myth: there are few actors who choose which roles to play. Of course, there are things that I don’t do, roles that I know won’t belong to me and so I don’t even go to auditions. But otherwise, we always try to give complexity and nuances to the character, regardless of the type of production. Being an actor means putting yourself in someone else’s shoes, experiencing tragedies or the most banal difficulties, eviscerating them.

Was there a character where you underestimated the psychological impact of its role or where you can say, after all, that you weren’t ready for? 

I certainly underestimated the emotional impact of Stella, the protagonist of “La Stanza” (a thriller with horror traits that begins with the protagonist in a wedding dress, convinced to take her own life and stopped by a providential ringing at the door, ed). Psychologically it was very heavy. And she made me even more aware than before, on the fact that going into analysis is crucial, and should become natural for everyone, like putting on underwear before leaving the house.

After the Weinstein scandal, which broke out in 2015, a lot has changed, at least in appearance, in the world of Hollywood cinema. As an actress and woman with a successful career, what would you recommend to a young girl who would like to pursue your profession? 

I would advise her to study, but also to live, because we tell stories about human beings, so the more personal experience you have, the greater your cultural and emotional baggage is, and the more we enrich our characters. And, another equally important thing I’d say to her, is to never be afraid to express her opinion.

And to a younger yourself, with today’s experience, would you recommend anything? 

I would tell her that it is okay: I have been always very consistent in my choices, I have been strong, thanks to my family formation: I was educated in dignity. Today a lot of communication and promotion of one’s work also passes through social media.

What is your relationship with them?

I only use Instagram, I left everything else. If it weren’t anachronistic, I wouldn’t use that either. But it has a ‘political’ value when there is a following. I believe that unfortunately the great fault of social media is having set free a certain neglect of ignorance. We are no longer ashamed of it. A thing that scares me but which unfortunately we have to live with. As a young girl I often felt like a goat, I tended to shut up if I didn’t know what we were talking about, then I went to inform myself, studying, to fill what I saw as gaps. A task that nowadays should belong to the school. It should, at least…

Recent Golden Globes nominations, thanks to the pandemic, given up in the face of the power of products made by Amazon and Netflix, to which the Hollywood Academy waged a ruthless war in recent years. Do you find that there are qualitative differences between productions created for cinema and those made for and often by the giants of streaming distribution? 

Right now I don’t think there is a qualitative or narrative difference. The approach I have, as an actress, is the same, I put the same quality into it. Of course, as a spectator the experience is different, even if after a year of pandemic, thanks to the arrival of high quality serial products, I realized that sitting on the couch and spending an hour and a half in front of the screen is complex. I miss a lot going to the cinema as a spectator, I don’t even remember the last film I saw in the hall anymore…

And at home instead? 

“Padre Nostro”, with Pierfrancesco Favino. I also started to watch the second season of “Big Little Lies”, I find it a masterpiece, because it is a project realized only by women. It would be wonderful to do something similar in Italy, but on one hand there is a certain snobbery, on the other we are far behind: the woman in Italian products, film or television, is always someone’s mother, wife, sister.

Is Italian cinema still very macho? 

I’ll tell you something: in “La Stanza” movie, I am very traumatized by events, without make-up tricks, messy hair. On the narrative side, it would have been illogical to play that role fully dressed and made up, after all. Two different men I know, watching the film, then told me: «Damn! How ugly they made you». They would never even thought that of a man. They would compliment him on how he got into the part. And the saddest thing is that it came out from two extremely intelligent people. Just to tell you which level we are in.

There’s not just cinema in your life. You also realized exhibitions at Palazzo Collicola (#psychedelicbreakfast, in 2015), you wrote a book (“La Sorella Sbagliata”, Harper Collins, in 2020, where she tackles disability starting from a personal and family story, ed). Willingness to catharsis or to express yourself through other arts?

I always thought that having chosen a specific path since I was a young girl did not mean foreclosing on the others. I am constantly looking for new ways to come up with my ideas, but I was quite afraid of “not being enough”. In that sense, my husband, who supported me a lot, was crucial, repeating to me the thing that my mother also often said to me: «at most they will say no to you». So now I’m writing the second book.

Before going to the set for the first take, or on the occasion of an important event, do you have any rituals? 

No, I’m not superstitious at all. In order to respect the others, however, I avoid wearing purple, a color that is still very ostracized in cinema. There are some directors who send you back to the dressing room to change yourself if they see you arriving on set with something of that color.

Speaking about clothes, how important are they in defining the character, and how important are they in your private life? 

For my work they are fundamental. When Massimo Parrini, the costume designer of “La Stanza”, pulled out the wedding dress that you see in the first scene, I thought he already defined the character. My role is related to water, so we worked a lot on transparencies and cold colors.

The wardrobe helps to outline the role in a fundamental way. In private life, I think fashion is another way of expressing one’s personality: some maisons create art, rather than clothes. Assuming that this past year hasn’t made us better, what did it teach you? 

It taught me that I had too many things and that my environmental impact had to be reduced. I have no more detergents: I make soap at home, I buy vinegar to clean the windows and I plan the weekly shopping on Mondays, to avoid waste. These are small attentions that take longer to say than to do. We could spend less time on to our smartphones on social media, and dedicate ourselves to something else: to make 3 dispensers of 250 ml of detergent, you need just a bar of Marseille soap and 45 minutes of time, if you are really a beginner. And of course I didn’t buy anything during the sales period. If this pandemic frightened us, just think about 2050.

What will you do as soon as you can get out? 

Go back to the restaurant. I like to go and try the starred restaurants around Italy, I went to Joia in Milan, the first starry vegetarian restaurant in Europe, and it was a 5 stars experience. On the plate it looked like it was dear meet and instead it was watermelon.

Are you passionate about cooking? 

I find that it represents the sense of family, as a community, which you want to take care of with food. In fact, my kitchen is bigger than my living room.

If you think about it, even during a dinner, you spend more time in the first room than in the second. 

I taught my children to cook, I want them to be independent. The eldest has a talented hand, but he lacks in patience: if a recipe is tasty the first time, the second he goes off the cuff without consulting the doses. However, some of his recipes entered the fixed menu at home, such as chicken slices breaded with cornflakes.

The Italian film tradition is full of films that take place around a table: which is his favorite? 

“La Grande Abbuffata”, no doubt.

Your husband is a director, so you will often confront each other on the matter. Isn’t it a bit difficult to take “the job” also at home, in front of the set table? 

I would not have been able to be with a person who does not work in my environment, because I would not have felt fully understood, we team up. I assure you, however, that with two boys, two cats and a dog, as soon as you enter the door, there is no more time to think about much else.


Starring: Camilla Filippi (@camillafilippiofficial)

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Photography: Roberta Krasnig (@robertakrasnig)

Styling: The Other Agency

Photography Assistant: Chiara Filippi (@filippi.ch)

Interview by Giuliana Matarrese (@giuliana_matarrese)

All clothes by FENDI


Slam Jam x Nationhood: Beyond History

Slam Jam x Nationhood: Beyond History

Archivio Slam Jam Curated by Nationhood

Mode2, Luca Benini, Futura 2000 & Alberto Scabbia in Modena (IT) during “Defumo” event, 2001

Luca Benini wears a Pervert t-shirt, NY 1993 /

SLAM JAM varsity jacket designed for Slam Jam team, 1993

Over 30 years since its establishment, Slam Jam, street culture brand leader, is opening the doors of its archive for the first time with an exclusive project devised by Nationhood.

Founded by Luca Benini in 1989, Slam Jam was born to serve the underground long before the term “streetwear” existed, becoming the first Italian importer of then unknown brands such as Stüssy. From its headquarter in Ferrara to the fashion capital of Milan, Slam Jam honed a unique and highly distinctive style guided by art, music and clubbing, connecting tribes of like-minded people across the world.

 

 

 

Nationhood is a multidisciplinary studio founded by Achille Filipponi and Matteo Milaneschi. Its goal is to generate new codes and languages in the field of cultural communication, focusing on editorial design. The studio partners with international brands and cultural institutions. Its activities span from the creation of magazines and photography books, through the creative management of digital projects, to curatorship.

The project of the Slam Jam Archivio curated by Nationhood comprises a new location in Slam Jam’s headquarters in Ferrara, and a consultable online atlas stemming from an experimental publishing plan focused on the brand’s cultural heritage.

The private collection of Mr. Benini is now a new cultural resource with its own digital platform, a long list of publications, and various offline off-shoot activities hinging on visual art and culture. Nationhood designed an infinite scroll to connect different contents in a sequence of images, a collision of Lo-Fi cinema and visual brutalism aesthetic. The upshot is a new digital device showing the anthropology of the look and underground subcultures of which Luca Benini was a founding presence: from clubbing on the Riviera Romagnola, London and NY in the early nineties, to the international hip-hop scene and Japan’s noughties fashion neo- avant-garde.

 

 

 

The hyper-photographic atlas is mixed with soundscapes from the around 10,000 vinyls in the collection, offering up the archive in a visual stream that confirms the potential lyricism of chaos and cyberspace as the symbolic place of a new digital romanticism.

The project represents an worthwhile opportunity for all the longtime Slam Jam fans, as well as an opportunity for young fans of urban culture and streetwear, to understand the origins of this current trend which is now so crucial in the balance of the fashion system and of contemporary audio-visual culture.

STONE ISLAND raincoat jacket (1983), UNDERCOVER ‘Space Odissey’ parka (2001),

BAPE KAWS chomper varsity jacket (2005)

(left) stickers by FERGADELIC (2006), cover of FOREZ ZINE issue 0 ‘Slut Rose’ (2009), TRAP FANZINE issue 2 (1993), Slam Jam SUPREME X ANDREI MOLODKIN ‘FUCK BUSH’ skateboard collection (2004)

(right) Giorgio Zattoni, Zoo York Tour, Ravenna (2001)

‘Tre Risvegli in Tre Tempi’ by GIAN BERTO VANNI (1969)

video shooting from Namaskàr produced by SLAM JAM (2007)

‘Crossing the German Border’ video from CARHARTT SPEKTRA (2008)

Text: Mattia Cantoni


Phoenix Rising

Bohan Phoenix is an Chinese-American born musician that has been gaining traction in the Chinese Hip-Hop community, as well as the American market.

 

Bohan has a unique approach to his music – he blends Chinese culture with American Hip-Hop and connects the two cultures through his tasteful ear and impressive thought process.

 

Photographer Bryan Tormey and Bohan Phoenix took a trip from NYC to LA while listening, creating, and processing Bohan’s album and drawing connections their land shares with the Chinese way of life.

 

To their amazement – they found themselves immersed in Native Navajo land when arriving out west in America and stunned by their findings. The Native American culture was closely tied to Chinese life by way of Serbia and down through the Americas. They began learning about these close connections and found amazing people and stories along the way.

 

“Phoenix Rising” reflects their journey and findings of Native Navajo culture and their close ties to American-Chinese culture and how close they all are as a people. The story embodies the path Bohan has been creating, drawing parallels between American culture and his native Chinese background, with the hope to prosper despite our failures and rise from catastrophe – stronger, smarter and more powerful than ever.


Photography: Bryan Tormey (@bryantormey)

Talent: Bohan Pheonix (@bohanphoenix)


#WritersRoadmapxValentino - Your Dream is a Word Away

#WritersRoadmapxValentino

Your Dream is a Word Away

In turbulent times, such as those we live in, culture represents a safe place, a bulwark with no borders, as well as a space for escape.

 

Words are messages, connections and creation of meaning. Their immense power can lead us to reality; their previous weight can make us dream. If “verba volant, scripta manent” is true, the future – in order to be better – will need well-written words, rather than just beautiful words.

Photo courtesy of C.J. Hamilton

Tomi Adeyemi in VALENTINO, March 1st 2020, Paris

In the wake of this idea, Valentino continues its initiatives in support of art and culture, launching the ‘The Writer’s Roadmap’ project. Fifty international aspiring authors-to-be students will be supported in their training through a series of creative workshops chaired by the American-Nigerian writer Tomi Adeyemi, friend of the Maison Valentino, winner of the Hugo and Nebula awards and member of TIME 100 authors. The students were selected after they shared a post on their Instagram accounts explaining their backgrounds, their passion and why they would like to be a part of the course. Submissions have been collected and accepted through December 2, 2020 and the winners were announced on the following day December 3rd.

 

After graduating at Harvard University with a degree in English literature, Tomi Adeyemi continued her studies in Salvador, focusing on West African mythology, religion and culture. Her career soared in 2018, when her first novel ‘Children of Blood and Bone’ landed the top of The New York Times bestsellers’ list. A fantasy book aimed at an audience of young adults, ‘Children of Blood and Bone’ is able to capture readers with a classic tòpoi of the genre like magic, and at the same time surprise them with more real, explicit and sometimes violent traits. Disney and Lucasfilm confirmed the start of production of a film adaptation of the book. 

Photo courtesy of Erynne Hundley

Proper training is essential for a talent to flourish. For this reason, the writing classes are focused on organizing the creative process of each student, on the acquisition of tips and tricks directly provided by Tomi, and in general on encouraging them to pursue their dream of becoming authors. 

#WritersRoadmapxValentino is the hashtag used to launch the initiative on social media. It has been made possible thanks to scholarships granted to selected participants, supported by Valentino. 

The Italian House Valentino has always been committed to developing talents and promoting cultural diversity. Like never before, we need to rediscover a sense of belonging and to create an active community that benefits everyone. And this creative writing project represents a small step in defining a new standard for the education of the future. 

Whether it’s a fantasy story, an intimate novel or simple thoughts written down by hand in a notebook illuminated by the warm light of a bedroom, this initiative promoted by Valentino and led by Tomi Adeyemi guarantees concrete help in making what today is still perceived as a dream into reality: to live by writing.

Photos courtesy of Laine Yuhas

Video courtesy of Shabel Castro

Video courtesy of Laine Yuhas

Text: Mattia Cantoni


Boys of Summer

BOYS OF SUMMER


Photography by Alexander Yantyushev

Photography: Alexander Yantyushev (@yantyushev)

Models: Zhenya (@shein_yeah), Vova (@vovahod), Vlad (@daaaaaalv), Roma (@rmn_kky), Dima (@holidayyzz), Gleb (@xclllusive), Ivan (@ivancenter), Svyat (@holyy_saiint), Artyom (@zakharov4492), Nikita (@nikitarudykh_), Tolya (@anatoly_is_one), Ilya (@ilyafrukttt), Pasha (@acid_pavel), Andrey (@hey.akutin), Sasha (@cherryonyourlips), Kostya (@kostya_buch)