The classiest ones are the Parisians (fashion was born in France after all), followed by the English. Parisians are naturally elegant, it’s perceivable from a distance… a part from the odd habit of wearing socks with little hearts or Mickey Mouse’s face printed on them. English men fall into these two categories: the classic-conservative and the trendy, The trendy ones are often confused about fashion and they end up overdoing it. Italians have a good reputation abroad, they say we are the most elegant. It’s not true, it’s only due to the fact we’ve got the greatest designers , the best tailors, the most beautiful fabrics, besides italian textile industies are top manufacturing companies.That’s all. What about Americans? They are not on the list. On the right John Steven in 1957, one of the most influential figures within the British menswear industry of the 60s and inventor of Carnaby Street, picture from the volume “Sharp Suits” by Eric Musgrave – Edizioni Pavillion.
 

It’s not easy to organize and realize a fashion shoot . The role of a creative director it’s essential as much as the photographer’s skills and creativity.
A team working on set is formed by many characters: the fashion editor (stylist), the groomer (hair and make up), the photographer’s assistants, the fashion assistant and obviously the subject.  A good overall result depends on the general mood of the team, the chemistry and harmony between the members. The empathic exchange between photographer and the subject portrayed it’s also an essential element, like the synergy between staff members. When you come across perfectly balanced situations on set, which can be rare, it’s possible to take outstanding pictures despite the worst odds, when you are shooting outdoors and it starts pouring rain, for example. Besides, when we shoot summer collections it’s still winter. Right: Richard Avedon and Fred Astaire on set filming “Funny Face” in Paris. Picture by David Seymour/Magnum from “Evidence 1944-1994 Richard Avedon”

William Faulkner, scrittore, poeta, drammaturgo e sceneggiatore statunitense (1897-1962), premio Nobel per la letteratura nel 1949, considerato il rivale di Hemingway. Uno scatto intimista, rubato in un momento di relax,in un posto che potrebbe essere dovunque, lo ritrae in atteggiamento pensoso: l’autore della foto è sconosciuto. Sembra che stia fissando qualcosa o qualcuno di molto lontano, il contegno è misurato ed elegante; una dignità che appartiene decisamente solo ad uomini vissuti in un tempo remoto: è un ritratto che mi ha colpito. Quell’apparente distacco emotivo che non tradisce i sentimenti e uno stile nel sensopiù largo del termine che riguardano al passato, oggi solo accidentalmente trovano un riscontro reale; mi vengono in mente di nuovo uomini di una volta, come Visconti e Pasolini. L’unico italiano contemporaneo cui penso d’istinto, che rappresenta nei modi e nell’attitudine un tratto così nobile, è il giovane e bravo giornalista Angelo Flaccavento. Il contesto si è fatto serio e nostalgico, mi pare riduttivo scrivere frasi del genere “ecco i vestiti più consoni per unire la classe alla disinvoltura”. Tanto più che, la classe, non si apprende.

Brunch-time is one of the best times of the week, a context of space and time either short or long lasting, without any rules. I like it because you can be alone, in New York as in Milan without having the feeling of being watched, perhaps by commiserative eyes. I like that leisure atmosphere, having no constictions and no particular etiquette to follow. I like it because it marks the end of the week leading you through sweet and savory to the beginning of a new one, an interlude of bacon, fried eggs and muffins. The best one, I have to say, is the brunch in Paris: at the Cafè du Palays Royalafter wandering around the jardin or any brasserie in the Marais or Saint Germain de Pres. The typical Parisian’s artistic (also slightly cheeky)temper, is quite fashinating. They are the only men in the world who can manage to look attractive even before shaving, hiding their uncombed hair under unconvincing ugly hats, wearing large shapeless cargo trousers and pulling them off incredibly well pairing them with worn out monk strap shoes instead of the same old sneakers. In the picture a ceramic plate by Fornasetti

Denim has been surprising us for over 50 years and it’s not over yet. At this point we all know that the fabric was born in the 17th century as an excellent material for making working clothes. From 1900 denim has been used for everyday clothing. It’s been one of the tangible symbols of the youth revolution and over time became part of designers’ collections, especially during the 80s and 90s when entire collections have been dedicated to denim. But the most important thing to consider is that denim is ageless, it can be used by young people as much as by the over 50s. It has lost all its ideological values over time, now it can be worn by anyone and it has no gender identity. The “Blue Jeans” exhibition inaugurated last november at the Centraal Museum of Utrecht by head of art direction of dutch brand G- Star Pierre Morisset, will be open to the public until march 10. The exhibition shows the history and evolution of denim through all the experimental and creative aspects, from the beginning till today. Denim menswear has not lost its sheen, being suggested every season with different treatments, colors and shapes and also for accessories.