The Milan architectures compared with the symmetries of the “Architect of Fashion”, Mr Gianfranco Ferrè. Ph by Davide Cernuschi, Top Model Jamie Kelly.

Revival. Chinatown is one of the best American movies of the 70s. It won the Oscar Award for the screenplay by Robert Towne but it should have deserved to win also for the direction by Roman Polanski and for the performances by Jack Nicholson and Faye Dunaway, the two main actors, and by John Huston as actor in a supporting role. This movie is 40 years old but it looks more recent: the rhythm is fast, the plot is engaging, the end leaves breathless. The love story between Evelyn and Noah takes shape in the middle of a mistery that is disclosed in the end, leaving the spectator with a bad taste and upset for a irreversible damage, that has no way out. “When it was released it was considered a new-noir; now, many years later, it could be included in the original noir movies” we read on the Chicago Sun-Times, highlighting its modernity. Even the costumes, that trace fashion of the late 30s, are up-to-date: the sunglasses with round lenses, the wide-brimmed hat, light colours in the shades of beige for the outerwear and printed ties. If you’ve never watched it, you have to. If you know it, it’s a masterpiece to rediscover. Jack Nicholson in “Chinatown”

The last goal of the real dandy. The real dandy, and it has been said lots of times, doesn’t care about conventions: this is a doctrine expressed through behaviour and consequently through clothes. The dandy’s tendency, that in the early ‘900 was provocation, with results we can imagine especially because he belonged to homosexual world, nowadays has ovverruled the original inclination, so much that it concerns, viceversa, a certain kind of eterosexual man. Surpassed the “metrosexual” era, today there are many men that choose a different clothing from the traditional one, trying to satisfy on one side the need to stand out, and on the other side the desire to own luxury garments. What characterizes this occurrence and makes it intriguing, is – now as then – the absolute indifference to others’ judgement; the choice of a dandy-like suit surely leads to a specific direction, opposite from the “macho”‘s one, but if it could be confusing for many, the real dandy doesn’t care. That innovative look, matched with a silk scarf around the neck or a printed bow-tie under a smooth velvet tuxedo, soften the appearance without drifting into ambiguity: if you have any doubt, clear out your mind, because standing out from the crowd with great taste is a real art. Max 2001, picture by Michael Wolley, clothes by Roberto Cavalli. Style 2013, picture by Paola Dossi, velvet tuxedo by Louis Vuitton.