Anche questa settimana, “Get Back” fa un salto indietro nel tempo e guarda al passato remoto e alla moda di quell’epoca. Il paletot dalle spalle ampie e “cascanti”, i pantaloni multipinces, il gilet con lo scollo rotondo: una moda oggi più che mai attuale, se pensiamo a certi cappotti di Berluti dello scorso inverno e allo shape dello stesso Cerruti 1881 presentato nel 2013 da Aldo Maria Camillo. La foto è di Paolo Roversi. Lui è Ruper Everett, allora all’apice della sua carriera dopo il film “La scelta” del 1984 di Marek Kanievska.

This week the “Get Back” take a jump back in time again, and looks at the fashion of a remote past. The coat with wide and “loose” shoulders, the multitucked trousers, the waistcoat with round neck: a fashion so up-to-date today than ever, if we think about certain Berluti coats of  last winter and the shapes of Cerruti 1881 itself, designed in 2013 by Aldo Maria Camillo. Picture by Paolo Roversi. He is Rupert Everett, then at the peak of his career thanks to the movie “Another Country” directed by Marek Kanievska in 1984.

When fine art photography made us dream.

Objective beauty exists and is the antidote against the confusion reigning over fashion  photography-related standards. The quality of fashion photography does not depend on good taste in clothing, as we may not like a dress but when the picture it’s good its value will last through the years. Otherwise I can’t explain why older photographers are still role models and why social networks keep on suggesting old pictures as symbols of beauty and prestige. Today fashion photography is going in a different direction, it became more important to shoot the best selling pieces and the styling has lost its importance. Companies just want to see their starched clothes without a soul, there’s also a lack of technique: we are far too easily satisfied, we dream less and fashion gradually looses its status because all campaigns in the end look almost the same. If you take a look at the picture in the middle by Paolo Roversi(a 20 years old Valentino ad campaign), you’ll see how he managed to create intensity and a three dimensional effect “just” using the right light. The model David Boal, the velvet maxi coat and a striking styling did the rest. We still have lots of beautiful clothes and men but photographers like him, not so many. Valentino ad campaign from 1993: picture by Paolo Roversi.

When a designer is being asked to redesign the image of a brand that made history, the biggest challenge is to create a collection that is going to reflect his personality while maintaining the brand identity.  Because of that heavy heritage the designer will find himself inevitably exposed to criticism and comparisons which are often purely based on rethoric. Designers like Slimane, who took the creative reins at Dior and Saint Laurent, respectively, have left completely behind the identity of the brand. Slimane’s predecessor Stefano Pilati instead even though sporadically, has been maintaining “the allure” so dear to the brand founder: we’ll see what happens in june, when he’s going to design for Ermenegildo Zegna. Nino Cerruti has left the brand Cerruti 1881 in 2001 and later on Aldo Maria Camillo became the new artistic director. He’s been designing the collection that is now available in stores, and he’s also been presenting the next fall/winter collection in Paris. “I am happy we have got Mr. Nino and the woolen mill involved because having the chance to create your own fabrics has always been Cerruti’s trademark” said Camillo which has been tipetoing his way into the project with discretion just like “Mr Nino”. His last collection feautures geometric and classy silhouettes, preserving the semplicity and elegance of the brand Cerruti 1881.