Vogue HOPE : Italy
Emanuele Farneti, Vogue Italia’s Editor-in-chief, is no stranger to pushing the envelope, having already introduced a series of illustrated covers in January, a CGI rendered cover model in March and for April? An unprecedented blank, white cover in response to the COVID-19 health crisis.
““White is the colour of the uniforms worn by those who put their own lives on the line to save ours.
It represents space and time to think, as well as to stay silent.””
— EMANUELE FARNETI, VOGUE ITALIA APRIL 2020 EDITOR'S LETTER
Having already proven his commitment to transparent conversation, the Italian issue easily & eagerly embodied the Hope initiative; launching a massive project to capture 100 “protagonists” for 100 unique covers, each photographed by Mark Borthwick. Each person is simply dressed in plain Prada, unedited and in stark relief against a plain white background and black flooring. Included on the long list of featurettes are renowned models Cindy Crawford and Bella Hadid, Black activist Bethann Hardison, non-binary model Indya Moore and LGBTQ+ activist CiCi Tamiz, central figures of the #MeToo movement Cameron Russell and Trish Groff, Sports Illustrated first plus sized cover model Precious Lee, and architect Gisue Hariri. The varied portfolio showcases an intentional range of voice; each granted their own cover to breath (and keep socially distanced).
““It is the portrait of a community that, having waited diligently, now finds itself making a fresh start, in full respect of the distancing and time restrictions dictated by the context.””
— EMMANUELE FARNETI, VOGUE ITALIA SEPT. 2020 EDITOR’S LETTER
The impressive scope of the collectible series of covers granted the hallowed September issue a reputation before it even reached the mailboxes of its devoted readers. Each issue also features an inside fold out, revealing two additional covers to the purchaser.
The ritual of the fold out with the solo cover models grants a kind of nostalgia to the candidly modern issue, a tactile gesture that acknowledges the origins of the magazine medium while making an intentional step into the possibilities for the paper construction to be synthesized with Farneti’s love of tomorrow’s technology.
An early Dolce & Gabbana ad sings sweetly to its Italian heritage; young girls laughing apart a red lip, high neck papal-like collars concealing the chains of gold cross necklaces, dangling out underneath (pg. 16). The shot is visceral and composed to put the viewer in the center of their laughing brigade; the modern girls of today are dressed as if they hid secret clothes in their handbags, away from the inquisitorial eyes of their Nonna. The image expertly embraces old Italy while championing new inclusivity and empowerment.
The fortieth page brings a stunning cast credits of sorts, displaying each of the hundred covers against a vibrant white, granting unexpected density and depth to the muted white backdrop of each cover. Once again, the sheer multitude of the faces is striking; the concept lying in such deep contrast with the stale single-minded approach often taken by the fashion industry. The project was imaged by Vogue Italia’s Creative Director, Ferdinando Verderi, to challenge fashion’s fixation with exclusion to instead offer a plethora of representation as a starting point for brainstorming a future where everyone has a seat at the table.
““The idea is very simple: more is more. We wanted to challenge the standards of quantity with which fashion has always measured itself, to express a desire for rebirth and to celebrate diversity and uniqueness in a way that becomes a collective experience.””
— FERDINANDO VERDERI, CREATIVE DIRECTOR AT VOGUE ITALIA
The “Controcanto” section features brief prose “Presente e Assente” by Angelo Flaccavento that speaks to the duality of emotions felt during this time of adaptation (pg. 52). Considered here, in equal expressions of heart-wrenching longing and endearing hope, is both the tactile component of the fashion show and the expansive abilities of video, respectively. The opposing perspectives highlight the extremes of this year while also introducing an apparent middle ground, where compromise can be found.
Vince Aletti takes the page’s twin, just one Moschino ad over, a correspondingly architectural background lying underneath the highlighted foreground text-- the words appearing like magazine cutouts laid atop a separate, unrelated work in progress. Entitled “Questa Non È Una Fotografia Di Moda” (translated: this is not a 70’s fashion photograph) this page acts a sentimental love letter to the bygone Americana cult car culture of the 70’s in California (pg. 54). Without ever having his own car to drive, Aletti remarks that movies are often a reminder of what he’s missing, stirring up a long held desire that has transmuted itself into a lasting affection for the nostalgia of the entire culture surrounding the marked timeline of the automobile-- arguably at its most glamorous during the 1970’s.
The featured image of “Van Nuys Blvd. 1972” by Rick McCloskey captures the very essence of this elusive partnership between party and car that Vince Aletti dreams of.
The following section is an exploration of numbers and all their relationships, references, and recognitions-- beginning with David Leavitt talking about the number 2020, a year which has nothing special about it, as deemed by the decisive singular footnote.
“ * 2020: un anno che non ha proprio niente di speciale. ”
— PG. 71
The section continues on with David Quammen examining 1859 (* the year of the publication of “The Origin of the Species’ by Charles Darwin), Sarah Mower confronting 0 (* a new start for the fashion industry), and Fabiana Giacomo revealing 62.2% (* the percentage of Italian women who are not economically independent). An appropriate Hope themed conclusion resides with Tahar Ben Jelloun and the number 2021 (* the year of repair).
The theme of numbers is heavily woven throughout the subsequent pages of the magazine, weaving a universality into the text, signifying a genuine desire for discussion. The fixation is explained by the Editor on page 101, aptly headlined, “About Numbers.” Their value is considered in ancient and esoteric terms as well as presenting a vision for order to be chiseled from the surrounding chaos. These reasons, among others, propelled the primal concept of numbers themselves to be selected as the leitmotif of this issue.
After a series of exploratory texts geared towards Italy’s changing cultural landscape, “Questioni Di Famiglia” brings a timely reunion of a family who have spent 43 years apart (pg. 130). The account of their gathering is a timely reflection of the international aching hearts held by the countless families who have been forced apart by quarantine restrictions. The central concept of family in everyday Italian life and tradition, makes this separation especially painful.
An accompanying rendition of “About Numbers” introduces itself on page 195 with “ *20 Pictures ” by Collier Schorr, featuring many of the cover models in a more streamlined traditional fashion look. The following pages bring poetic prose that is so expressive, it transcends the page and becomes a performance-- to be embarked upon with all senses engaged. “2020 Black Nonsense (the right to articulate an unfinished thought) is a highly collaborative work that confronts single toned standards of beauty (pg. 226). This is a vulnerable work that picks up speed as the turning pages transform the images and swirling, screaming, stumbling text into a cohesive vision of real life— too often purposefully erased from the glossy pages of a magazine.
Leading to the issue’s conclusion is the presentation of four number-themed photography portfolios: beginning with 1883 (Mlle Chanel, born in) photographed by Mert Alas & Marcus Piggot and ending with 3 (3D) digitally rendered artwork by Jason Ebeyer (pg. 238 & 264, respectively).
The issue wraps up with “One Last Thing,” a brief glimpse into the process of undertaking such a massive endeavor as 100 cover models. Ferdinando Verderi articulates it perfectly when he says the power of the multitude of covers lies in the fact that everyone from fashion legends to people that have nothing to do with fashion, are all presented “senza distinzione,” without distinction.
