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CONTENTS 36

Editor’s Letter - p.8 Fashion Today, the global trend is nature - p.12 Essential - editorial p.18 The German activist Luisa Neubauer - interview p.32 Cover story: Into the Woods - p.36 ART Lisa Wright and her little forest's guardians - interview p.48 Exhibitions not to be missed p.55 Emma Witter and her art in bones - interview p.56 Dark Ivy - editorial p.64 FW19 Must Have inspired by nature - p.72 BEAUTY Golden Hours - editorial p.78 Beauty products for this winter? The answer is Nature Vibe - p.90 CINEMA From Stranger Things to Doctor Sleep,  let's talk with the young actress  Chelsea Talmadge - interview p.100 Pretty Bows - editorial p.104 ACCESSORIES A guide to what wear on a snow holiday - p.116

THREE COVERS look for your favourite in stores

La Vita Semplice - editorial p.122 What the Greenwashing is? And how can we crush it? - article p.140 Cold Lake - editorial p.148 Selina Wamucii, the African farmer who's really helping her country - article p.162 The architecture of Future is Green, and Visionary - p.166 Exit - editorial p.172 PARADISE Our sustainable winter holiday. Discover with us 6 top places in northern Italy - p.180


EDITOR’S LETTER 36

P

assword: planet earth. With the whole world crying out for the climate scandal, here we are (totally this time) dedicating ourselves to what, personally, is the most emotional in the world, nature. How you can ignore certain topics and not give it importance in your private life is something I will never understand, but if you have a media tool and don't use it to do the right information then it's even worse. Photography is a powerful means for launching messages, so I hope you will appreciate ours in the 10 dedicated editorials, interviews and articles that have lovingly formed this December issue.

Editor-in-chief Facebook: @marta.forgione Instagram: @martaforgione

Marta Forgione


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Editor’s letter PRESIDENT, CHIEF EDITOR Marta Forgione martaforgioneph@gmail.com Raimondo Scintu, 78 street- 00173 Rome (Italy) LAYOUT Marta Forgione CONTRIBUTORS FOR THIS ISSUE: WRITERS Giulia Greco Ludovica Mucci Marta Forgione PHOTOGRAPHERS Frank Widemann, Oliver Beckmann, Kevin Alexander, Eva Schwank, Aleksandra Buca, Mattia Pasin, Katharina Werle, Flavia Sistiaga, Jaan Eric Fischer, Christina Kapl AGENCIES INVOLVED A-management, NEXT worldwide, Nina Klein, MN-creative, Uschirabe, Muse NYC, Premier models, Louisa models, Milk management, United for models, Kathrin Hohberg, LE management, Izaio management

ADVERTISING adv.latest@gmail.com Rome Italy 2019 | p.iva 15126391000 | ROC registration n. 32682 Bi-monthly publication by LATEST srls unipersonale in February, April, June, August, October. Printed by Severn print, UK | for Italy by Facciotti s.n.c Distributed by Pineapple media LTD, UK price on website latestmagazine.net - print €15 - digital €4.5 Cover price: IT €15 UK £10


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Editor’s letter

In the time of social networks, trends are running so fast that it’s difficult to keep up with them. Whether this is good or bad is still a matter of debate. Since the issue of sustainability exploded, everyone in the fashion world seems to have put the turbo up and in a couple of years there has been a lot of excitement. Today brands compete to be the greenest in the realm and creative minds are always looking for new solutions to adopt, with the aim of lightening our Mother Earth a little from the weight of their (wicked) children. Greenwashing aside, all this talk about sustainability is certainly a good thing. That the facts correspond to the words is another matter, but it is nevertheless a starting point to be reckoned with. The last month dedicated to women's fashion, September, was dominated by the natural theme, which blossomed, literally, on catwalks and collections, red carpet and evening events. Nature, nature, nature, wherever our eyes have landed they met it. We made a summary of what inspired us the most during the fashion shows, to understand how fashion can actually influence our choices and behaviors, guiding us towards a better future.

FASHION TODAY: THE GOBAL TREND IS

NATURE Words Giulia Greco - up to page 16 Here and opposite: Dior SS20 details | ph. Armando Grillo Opposite: Collina Strada SS20 | ph. Filippo Fior and Alexander McQueen SS20 | ph. Alessandro Lucioni all shots c/o gorunway.com

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The set of fashion shows has always been very important for to define of collections. It is even more important today, because the very high competition that exists in the fashion system forces brands to sharpen their wit and look for innovative solutions to capture the attention of the public. The storytelling that surrounds the collection is therefore essential. Collina Strada has chosen to present its collection in Stuyvesant Square Park, New York. The list of positive hints that this collection has brought to the guests is probably too long to be screened entirely. Most of the garments were made with recycled materials and the designer, Hillary Taymour, declared after-show that all her efforts are aimed at making the brand 100% sustainable: perhaps a long journey, but in which every small step is important.


What really fascinated us was indeed the atmosphere and the feeling, at the end of the show, that even the smallest individual action is helpful for the planet. Starting from the title, Thank You Very Much for Helping Me, and from the notes to the collection, a memorandum of daily actions that are useful to the planet, such as eating less meat, growing your own vegetables and cooking at home. To the small local market located near the runway, where, at the end of the show, the guests "went shopping" for products at km 0: fruit and vegetables, but also bread and flowers. Not just a collection, but a real lifestyle. Like Collina Strada, many other brands decided to act in a practical and substantial way, using recycled materials, waste from archives and warehouses, or innovative fabrics derived from plastic. Sarah Burton for Alexander McQueen surpassed all the others and really presented a collection that, besides being incredibly beautiful, is incredibly good. For our planet, of course, but also for the people who made it. All the fabrics used are sustainable: organza, tulle and lace have been recovered from old collections; the linen comes from Ireland and everything, even the smallest production waste, has been reinvented and used to make the damask; wool and mohair are English and handcrafted. Every single piece comes from nature and is for nature, in essence and appearance. And it teaches us that this is the only way towards sustainability, the authenticity of natural things, made according to tradition and with the love that only genuineness can have.


Editor’s letter

Giorgio Armani has been inspired by nature once again. Nothing is better for him than the world around us, with its landscapes and its peculiarities. His collections are a hymn, silent and hidden, but no less impactful, to all the natural elements that still live in the untouched areas of the earth. Plants, stones, soil and water become words of his delicate and elegant vocabulary, with which he then goes on to give shape to fabrics. The title of his Spring Summer 2020 is, not by chance, Earth. From the opaque gray of precious stones and metals, the collection passes to the various shades of brown of the earth, so warm and brittle that they are almost tactile, up to the intense green of the tropical leaves. There is also a hint of pink halite, the rock salt that arises spontaneously in nature and that is rich in beauty, also due to its crystalline transparency. The reference to nature has also been developed on the level of the fabrics, which range over a broad spectrum of brightness and imitate both the porosity of the stones and the reverberation of light on the glossy leaves of the trees. Organza pays tribute to certain seabeds and their lewd alternation of pastel shades, while applications of feathers and flowers speak for themselves. Armani's aestethic can only sublimate what the Earth offers to anyone who wants to lend it an eye and ear.

Giorgio Armani SS20 | Ph. Filippo Fior Stella McCartney SS20 | Ph. Armando Grillo Cividini SS20 | Ph. Isidore Montag all shots c/o Gorunway.com

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The Marni collection by Francesco Risso is definitely more stylized and impactful. The designer started from his personal knowledge of the Amazon forest and its current situation, to create an inspiring collection. No idyllic scenarios and panicus love for what surrounds us, but a desperate cry and heartbreaking beauty for the impact that man and his actions have on nature. For Risso the Spring Summer 2020 is "a joyful protest" against our most inhuman behavior. The hand-painted clothes are so colorful and impressive that they leave the viewer speechless, almost dazed. The palette is intense and vaguely surreal and creates an ecstatic vortex in which all of us are involved. A collection that is a perfect metaphor for what is happening around us, so fast that we barely manage to realize it. Different approaches and paths that come together to create a great show and an intense month of beauty, yes, but also of commitment and reflection. The force of nature is compared to human actions and is weighed, looked at from different points of view, to create a debate of fundamental importance in our society. Fashion once again confirms its cultural and social role. Like a good book and a Cubist painting of questionable charm, it is able to shape our thinking and the confrontation between such different designers, each with their own personal approach to the subject, is prolific. From here on the rest is up to us.

Marni SS20 | Ph. Armando Grillo Elie Saab SS20 | Ph. Filippo Fior JW Anderson SS20 | Ph. Alessandro Viero All shots /o Gorunway.com


Editor’s letter

Surely last season's fashion shows should not be used to remind us of differentiate trash, or to eliminate straws and plastic cups to safeguard the natural environment. Not only, at least. Fashion moves on a more abstract and conceptual level and the focal point of these "natural" collections is to be found elsewhere. It is the joy that we still find in the contact with nature, the real theme towards which the fashion world is going. After years of industrialization and forced (and ruthless) technological advancement, society now seems to rediscover what man has more natural and innate, visceral contact with Mother Nature, because this is where human beings can still find peace of the senses. We can breathe a sigh of relief, perhaps, because the new interest of younger generations in nature and well-being seems to ward off the threat of a young population that lives on mobile phones and makes friends online.

Both the utility style and the "cool gardening" trend testify to the need for comfortable clothes, natural colors that blend well with the world around us, shoes, bags and hats that, in our spare time, are suitable for a walk in the woods or to get your hands, literally, into the ground and take care of flowers and plants. They are different influences, but they all tend to lightness. Which is also a political response after all, to the dark times in which we are living now. Missoni SS20 | Ph. Daniele Oberrauch Louis Vuitton SS20 | Ph. Armando Grillo shots c/o Gorunway.com Schiaparelli SS20 | courtesy of Schiaparelli

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Essential “Ton-sur-ton of earthy colours create minimal and extremely chic outfits. Also because of the materials: leather, cotton and viscose. Rigid and full consistencies, which do not overwhelm the figure but exalt it. Natural beauty comes from inner strength and is enhanced by the right combinations. Above all, natural beauty makes us feel good about ourselves, because it does not require any kind of commitment or fiction. It simply is. Essentiality is the greatest value, and the most difficult to achieve. Beauty does not lie in adding, but in knowing how to remove all that is superfluous.�

Photography Frank Widemann Style Marcello Bona Model Yvonne Wegener c/o A-Management & Next worldwide Makeup, Hair Style Bianca Hartkopf c/o Nina Klein using Dior Post Production Bird Imaging


Opening: Vest ,Turtleneck Max Mara | Skirt Ganni Here: Top COS | Turtleneck JW Anderson | Opposite: Coat Sportmax | Boots Hermès


Top COS | Turtleneck JW Anderson | Skirt Nobi Talai | Boots Hèrmes Opposite: Coat Bottega Veneta | Pants Hèrmes


Jumpsuit Chanel | Opposite: Total Look Gauchere


Here and Opposite: Total Look Ganni


Here and Opposite: Total Look Hèrmes


Here and Opposite: Vest, Skirt Max Mara | Dress Joseph | Boots Sportmax


Luisa NEUBAUER Interview with this German Activist who's really trying to change the world words Giulia Greco

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The new generations are not afraid to raise their voices, especially when it comes to important topics like climate change. Perhaps because, with the youth, they also possess a good dose of hope, resourcefulness and boldness. Or perhaps, more easily, because the future belongs to them and they have no intention of loosing it. We decided to ask one of them directly, to confront ourselves with the ideas and hopes shared by young activists of Friday for Future, the scholastic strike movement that takes them to the streets once a week, fighting for the climate. The movement started with Greta Thunberg in August 2018. Since then it has expanded, both geographically and for the number of participants, giving life to a peaceful and resolute entity, which can no longer be ignored. Luisa Neubauer is a 24-year-old German activist who, following Greta's ideas, started student strikes in Germany. With her we talked about science, moral duties and education, but also about fast fashion and environmental impact. And we have discovered that each of us makes the difference, every day, and that everything always starts from believing in ourselves.


ph. ©Jörg Farys - previous page ph. ©Wanda von Bremen

When did your start with the Friday for Future and what were your expectations when organizing the event? I started organizing Friday for Future in Berlin in December 2018 and, before the first strike, I was actually scared because I had no idea how to plan it and what to expect from it. I was scared nobody would turn up. I did not expect to be still striking ten months later.

The media attention is huge in all ways. I think there's a tendency to kind of glorify hate, as in "you need to get through this, you have to deal with it because it's part of the game" and I think there's literally no reason why it should be glorified. Hate is not normal and should never be normalized, so this is the first way of online hate I experienced. Us from Friday For Future had no idea how to deal with this, but I quickly found out that I didn't want to just let it be and to accept it. For this reason, I started working Were you not afraid - or are you afraid together with an NGO that sues people if they use now - of the responsibility you have, being the language that's not legal anymore. I'm trying to find leader of such a movement? a good balance of the amount of time that I spent on No one ever asked you if you want to be a so-called social media when not organizing and obviously I've leader or whatever that may be. So I think you’re become more conscious about what am I saying, kind of jumping into the water, which is good. I what language I use and how inclusive it can be: I wasn’t told before what it could mean for my life, but try to use non violent language as much as I can. I guess it’s okay. The distance between my public image and private life is difficult to handle in terms of social media. On Since all of this started, you’ve been subjected Instagram, people feel like they are part of your life: to media attentions, both in good and bad they know you, so they would say hi to me on the ways. This is part of the game but how does it street asking me how my weekend was in Berlin, affect your daily life? Do you try to keep some knowing that I've spent it there, whereas I wouldn't distance between your public image and you even know who they are. That's difficult and I think private life? this distance is kind of blurry nowadays.


ph. ©Marcelo Hernandez / HA

Fake news are very common nowadays, but sometimes they are hard to handle. What are your feelings on the accuses they have placed on you, about your collaboration with One campaign? And how do you think it can damage your work? The fake news’ issue is definitely huge but, at least in Germany, that is not the biggest one. This conspiracy theory about me being the handler behind Greta is odd but actually, if anything, it makes me laugh, I guess. It's not something that I am very much concerned about. I feel there are so many millions of people around the world that we've touched, that we've moved, that we've reached successfully, that are joining this movement and are getting involved in other ways and these are the ones I'd like to focus on. There's a huge mass of people who are kind of ready for that and a small group of old grumpy man with their theories... I don't feel that is where I want to put my energy. Climate changes are not easy to understand, because they are not readily visible. Many people are influenced by political leaders who do not share the same fears you have for the environment, and this is very dangerous for the public opinion and awareness. Scientific explanations can be the appropriate way to explain it to the population: which proofs would you give to p.34

them, to get them on your side? Well, for Europeans, I think in Germany (and in Europe) we experienced it last summer; and in many other parts of the world there are local examples of environmental and of climate changes that are happening. Also there are very simple curves on CO2, temperatures and on the planetary boundaries we are smashing right now according to the model used by Johan Rockström, a very well known scientist. The signs are very clear: it's less about finding the appropriate graphs, rather than having people accept that we are in the middle of the crisis and that is actually too hard to handle, too big to even imagine. It's scary, because you can easily come to the conclusion that you, also everyone, is essentially part of the problem. The way we live, the way we work, the way we trade... these are all somewhat contributing to this crisis. Suddenly everyone thinks "is it my fault now?" and obviously the next response is "no it can't be me, because I didn't want to do any harm in the first place”. So you quickly get into the spiral of "this is too tough, I don't want to be confronted with this" and then you start denying or heating climate activists or so. But once you get to the point where you say "OK, I'm just going to accept that we are in this crisis, accept the science behind it and accept that I am part of the problem", then you’ll find out that everyone can or even must be part of the solution as well, and that's a very hopeful perspective I think.


In your speeches you invite people to join the movement, saying to become an activist is the first step to make a change. This is important but obviously not enough: what’s next? I think people around the world, especially teenagers, need more specific and tangible suggestions on how to change their habits. I don't think the answer is in the traditional way of, for instance, how often do you eat meat, but I think the essential habit change we need is that people start understanding themselves less as a consumer and more as political beings. I think the habit changes we need is that people start taking themselves more seriously, and stop limiting their space of responsibility and influence on this kind subjects. Not about the time they spend in the supermarket but enlarging this on all aspects of their life. This is why you need to start talking about it, to get people to start voting for the climate stand, questioning politics, starting asking for better solutions. First of all, education is one of the best ways out of it: teaching children how to behave and how to take care of our planet, how to make conscious choices, will assure us a greener future. Could the opposite strategy, with educated children making pressure on their parents to change habits, be helpful also now? Yes, children are key to this! We have been lacking messengers in the past 30 years. All the signs were already clear but we haven't had people who would function as messengers and this can be the children. As we need to convince the adults, because it's easy for them too ignore what's going: they are not the ones affected by something happening far away, on the other side of the planet or in the future when they are not going to be alive anymore. But they can't escape the logic of a child saying “you say you love me: well if you do so you would care about my future and my concerns about the climate”. So that's a key role for children, I suppose, and then they obviously need to be educated. In second instance, communication is the most powerful way to act, and you are already doing it with you Friday for Future. We all know that Influencers and instagrammers have now a huge ascendent on the population: do you think using influencers could be a useful way to change consumers’ behaviors? Oh yes, influencers should be the first ones that

are growing after this now. The way messages are spread has changed tremendously since we have social media, so now we've got all those new important players in the digital world, able to reach millions of people: with every new follower your gain, your responsibility grows. I'm sorry if some influencers out there don't want to hear this but this is how this works so rise after the occasion please! Coming to fashion specifically, we all know it is one of the most polluting industry ever. Are you informed about fast fashion’s impact, and have you change your consumer’s habits according to it? Fashion industry is huge and it has such a large impact. I have come become best friends with slow fashion: I barely consumed new fashion items, I go second hand shopping a lot and I often wear the same things actually, also because I don't really have time to think a lot about that kind of stuff. But obviously, fashion can be one of those messengers as well, because the images produced by the fashion industry reached so many people, and it has to change in all dimensions. I hope that industry to rise up to the occasion. Inviting people to take distance from fast fashion is already a big step towards change: does your association do something specific about it? We don't really have a stand on fast fashion but I think it's something a lot of people care bout. I care about it, but I also think the chunk of responsibilities doesn't lie with the consumer, who is attacked - literally attacked - by advertisements with body images, sales, summer offers and so on. It's somehow a sort of misunderstanding that all those people who are being out there confronted with all those lobbying advertisement all day long, now need to kind of illustrate hectic over the everyday life. It grows beyond that. I think this needs to start with an industry that understands its own responsibilities and understand that, if they’re actually interested in it, if they want to last for more than just a few generations, in the future, they must becoming part of the change. And also, you know, officially, fast fashion will have to die at some point So the fashion industry might as well just kicks starting and create this fashion future, which is actually in line with the climate crisis.


Into THE WOODS “Mount Ida, in Turkey, has a long mythological history. Homer talks about it several times in the Iliad. The name derives from an ancient female divinity that then coincides with the well-known goddess Demeter, the Mother Earth. Today it returns at the center of the debate, because thousands of trees have been uprooted in search of gold. And the God of money, so modern and ruthless, seems to win again, drastically replacing any other beliefs.”

COVER STORY Photography Oliver Beckmann c/o MN-Creative Style Elke Dostal c/o Nina Klein agency Model Günce Gözütok c/o M4 models Style Assistant Olivia Dahleiden Hair Style, Makeup Christian Olivier c/o Uschirabe Using Balmain Hair And Chanel Casting Nicholas Forbes Watson Postproduction Retush


Coat Salvatore Ferragamo


Hat Valentino Seen At Mytheresa.com Coat: Acne Seen At Mytheresa.com Opposite: Coat, boots Kenzo


Dress Jil Sander Boots Ermanno Scervino Opposite: Coat Nobi Talai


Coat Erdem Opposite: Hat Rick Owens Top Sid Neigum Pants Nobi Talai Shoes Prada


Coat Mulberry Opposite: Trenchcoat Sportmax


Here and opposite: Hat Burberry Sweater William Fan Boots Hunter


THE SMALL FOREST'S guardians of

Lisa

WRIGHT words Ludovica Mucci

all images courtesy of Lisa Wright


LATEST INTERVIEW

On the occasion of the Centenary of Forestry England, the largest association to manage British national parks, two artists joined for the celebrations, putting on a nature set in the middle of Thetford forest, the largest pine forest between the north of Suffolk and the south of Norfolk. Tom Piper, designer, and Lisa Wright, painter, have created a magical atmosphere in which small children, guardians of the forest, protect its ecosystem. In this December issue we find out more about artist Lisa Wright and her creative process. Known for her original paintings portraying childhood figures not yet adolescent, Lisa studied at the Royal Academy schools in London, then moved to Cornwall, where she still lives and works. Nature, with its seductive colors, is very often an inspiration of hers, as is the age of childhood and prepuberty, a period in which there is a change that cannot yet be defined as such, an age so fleeting and for this so pure and simple. We will discover how the collaboration for Forestry England was born and developed and what was the purpose behind the centenary celebration, a moving moment to feel in communion with nature. Through Lisa’s words we enter into her world for a moment, accompanied by the curious eyes of her creations to discover the threads that connect the past to the future passing through the present and the role of art in bringing out an emotivity free from the chains of adulthood in symbiosis with nature. p.49


The installation “Future Forest” was born from your collaboration with Artistic Director Tom Piper to celebrate the centenary of Forestry England at the High Lodge in Thetford Forest. Could you please tell us a little bit more about what was the starting point of the collaboration and why did you two decide to embark in this journey to celebrate such an important occasion? Tom and I worked together in 2016 when he invited me to be artist in residence with the Royal Shakespeare company as part of the ‘Histories’ cycle of plays. When the opportunity to work on this Centenary project for the Forestry Commission was presented to us it felt like the appropriate project for us to collaborate again. Our proposal was that Tom would design the structures for each of the six installations and that I would create the life-size sculptures to be placed within them. Your portraits of childhood figures, often mouthless, depict a status of prepubescence in which anything is still possible, and the perspective of the surroundings can still be very flexible compared to the stiffness coming from adulthood and experience. Their innocence is also nature’s innocence, in an ethereal symbiosis that seem to remind us where we came from and what we should not lose. There were any readings, portraits or stories that inspired you in any way in the creation of such beautiful creatures? My work has always been informed by historical painting and classical sculpture. Referencing very particular classical sculptures for this project allowed me to develop a narrative which connected to the past, present and to the future. The narrative around the figure of Daphne for example is related to the Greek myth of Daphne and Apollo in which Daphne flees the advances of Apollo and is ultimately turned into the laurel tree- ever youthful, ever green. This seemed a very poignant reference for Future Forest. These ten figures represent the future custodians of the forest for the next hundred years.


These children of the forest were informed by the sculptures designed by Tom Piper and at the same time are their main source of inspiration coming from the “Infinite Forest” painting series, which you described as the continuation of your “inner landscape”. Is there a place that is able to reconnect yourself with nature and release your thoughts and emotions? The idea was to make life-size figures that felt

as if they had stepped out of my paintings and into the real world, each of them embodying a sense of the landscape. This was achieved by hand painting each figure much like I would onto a flat canvas. Tom designed the structures which are located throughout the forest, taking the visitor on a sensory journey- into a dead pine forest for example, which is a totally immersive experience, at the centre of which one of the figures can be found.

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Art, in all its endless forms, plays a crucial role in our society and culture, in our present as it was in the past and it is going to be also vital for the future. Indeed, through the power of visual images, art can sometimes arrive where words cannot. Do you think its cathartic function can also move us to action and make us improve our behavior towards the environment? The hope is, that experiencing a connection with these figures in their forest environments, will encourage the viewer to think about their own connection to nature and the importance of our forests. Your portraits have this magical power of representing an individual experience that

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through the canvas communicate rather a shared experience, up to a point that your children’s eyes were also ours in the past. Questioning ourselves about how such powerful drawings come to life, we are curious to know more about what your main source of inspiration behind your creative process is. Do you have any habits or rituals you do before approaching the canvas? The figure has always been central to my practice and has, in recent years, explored the pivotal point between childhood and adulthood. Many of the paintings depict figures at this point of change often not quite fully revealed. The painterly elements forming a lace like protection or armor over the figure


or perhaps a mask - which refers to Venetian painting of the 18th century where the wearer wanted to conceal their identity. Drawing underpins my practice; therefore, I often make studies to develop ideas. I draw from life as well as from found sources and imagination. It is important to maintain that sense of play in the studio; I find that this is when interesting things can happen. From your past exhibition “Walking through beautiful” we understand that your paintings come from a thread of experiences that link your past childhood to your children’s, depicting a moment that is long gone by the time it is lived but that has to be cherished anyway in a pure and sincere way. From your perspective and sensibility, how colors and their structure can express this feeling? What lies behind your choice of a color tone or palette over another? Colour is very emotive. My pallet choices often change dramatically throughout the process of making a painting. Ultimately I have to find the right balance between colour and subject.  I want the viewer to be lured by colour in the paintings and also to be rewarded on closer inspection, by the surface quality and handling of the paint. Art can sometimes evoke an epiphany in the observer, because it can trigger some memory or feeling that we might have never considered before. Have you ever found yourself looking at your paintings and discovering something new about your own past? An emotion or feeling that you have never explored? Art has the power to shift our perceptions. If one is open and receptive, the creative journey can connect us with memories and feelings from the past and the present. Encouraging us to pause and think about our place in the world.  Whenever I visit a museum and see particular favourite paintings, the startling reality of coming face to face with them is always an emotional moment.

Do you have other future projects related to nature and the environment in mind? Are you currently working on something new? My practice is constantly evolving, each body of work informs what comes next. I am currently preparing for ‘Infinite Forest’ a solo exhibition opening on 29th October in London with Coates & Scarry Gallery. This work is connected to the sculptures I made for Future Forest and speaks about the importance of preserving nature in this time of heightened awareness of climate change.


MANDCO.COM

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"Training Humans", Milan Osservatorio Fondazione Prada, 12 September - 24 February The relationship between technology and society is often the main theme for dystopian stories. Novels and science-fiction films favor apocalyptic scenarios of a more or less near future, in which technology will unexpectedly take over human beings and will irreparably change our social organization and beyond. But what happens when we realize that the future we are talking about is not actually future, but present? The exhibition Training Humans by Kate Crawford and Trevor Paglen tries to show us clearly and directly that the future is today and there is no more way to escape from it. The exhibition does not give moral judgments on the use of technology, neither it investigates historical and social causes of it. It simply attests to a fact: banking institutions, schools and hospitals, military and political environments, all of them use the resources of new technologies to compose a detailed population’s file, giving it a defined face - in the true sense of the word. A correct education on the subject is of urgent need. "Futurium Lab" Berlin, from September Among the many European capitals, Berlin is certainly the most futuristic. For historical reasons above all, but not only, it finds today to have an explosive concentration of creative minds that, together, can shape the future. Futurium has been inaugurated with these premises, a futuristic space of steel and glass spread over several floors. In addition to the visit to the permanent exhibition, which will remain free until 2022, the structure offers recreational and work spaces where the most prolific minds can share spaces and work on their projects. For example, the Futurium Lab, on the first floor, where 3D printers, laser cutters and robotic arms are available to experiment freely. The exhibition instead takes place around five fundamental themes of existence, which must be considered in anticipation of future changes: food, health, energy, work and urban life. Without a doubt an electrifying experience. “Muff Busters: Vagina Myths and How To Fight Them" London, Vagina Museum, 16 November - 16 February The Vagina Museum, the first one ever in the world, (finally) opened in London. After traveling for a few years to different parts of the United Kingdom in ever-changing pop ups, the museum has finally found a stable position in Camden Market and already has a dense program of exhibitions, events, talks and laboratories. The director of the museum, Florence Schechter, stated that (obviously) there is no pornographic implication in the various exhibitions, but only the desire to break down millennial taboos and create a comfortable environment for everyone. The exhibition by Muff Busters tries to do just that, investigating false mythologies and obscurantisms that still circulate around the theme of the female sexual organ. Only in this way can raise awareness and well-being, of fundamental importance for today's and tomorrow's women. "2020 Vision: Photographs, 1840s-1860s" New York, MET Museum Fifth Avenue, 2 December - 10 May 2020 is an important year for the MET, because it celebrates 150 years of activity. On the occasion of the anniversary, countless exhibitions are organized throughout the next year, along with special events. Among others, the MET wants to celebrate the importance of the "gift", which is a really interesting sociological theme and allowed museums, including the MET, to grow and expand their collection. Many new donations were made on the anniversary of the foundation, but all the older donations will also be shown, which are now part of the history of the institution. Among others we were struck by the exhibition on photography, which is divided into two parts and allows the general public to access a vast archive, from 1840 to today. The theme is significant now, given the capillarity of Instagram and mobile phone cameras. Photography is investigated in its historical role as a medium that has radically changed our vision of the world, following its history step by step.

LATEST art words Giulia Greco

Training Humans @Marco Cappelletti

Futurium @Dacian Groza

Vagina museum © Nicole Rixon

MET museum Fifht Avenue | courtesy of nytimes.com


LATEST interview words Giulia Greco

Emma Witter is young and brilliant and her career as an artist developed quickly, since her early years in college. Many contemporary art critics have been interested in her work and have assured her, to date, a place at the Sarabande, the Lee Alexander McQueen Foundation that continues the will of its founder and offers support and opportunities to talented and, above all, brave young artists. Emma Witter fits perfectly into this description and her work, though delicate and fragile in appearance, has a special expressive force. The solo titled Remember You Must Die was held last September at Sarabande, the Lee Alexander McQueen Foundation in London. It was the second solo in the artist's career, after BLOOM at the Hix Art Gallery. Two important events, not for the artist only but for the public as well, because being in front of her works is a cathartic experience. Emma Witter realizes floral sculptures with animal bones and, if the idea can be at least unusual, the final result is amazing. Along with the sculptures, Witter also exhibited a series of related photographs. We had the pleasure to interview her for you and this is what we found out about her fresh point of view on a “stale” topic.

Emma Witter: on life’s renewal p.57


As well as a sculpture you also work in set design and prop styling. When did you decide sculpture was what you wanted to focus on and how did you come to this decision? Yes, so I’ve been developing both practices for a little while. Usually the two feel very forked between art and commerce, but then there’s lovely moments when my sculpture can feed into my editorial work, whether is a process of making, an aesthetic or styling using the actual pieces. Likewise, there are areas of art practice where it’s been really useful to have a set design background, for example when curating a space and installing, photographing works, collaboration etc. I studied performance design at Saint Martins and was interested in scenography. For my final major project, I produced an immersive performance based around food and dining, where I particularly enjoyed the prop making of these weird imaginary ‘meals’, using food matter but in strange ways. I developed this idea of food sculpture, set up a studio practice and started to get editorial and commercial commissions from places like The Wellcome Trust, Rowntrees, Hix Restaurants. I was interested in the temporality of food as a working material, but started to want to create something lasting. So I became interested in skins, shells, bones - food matter that doesn’t decay. I created a series of little sculptures out of bones, and submitted one to the Hix Award, and that show I think was my first exhibition. I’ve been able to focus much more on sculpture when doing residencies, at Hix’s Tramshed restaurant last year and recently at Sarabande Foundation, when I’m working towards a big show.

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Still Life is a genre which goes back centuries throughout the history of art: what artistic education do you have and how important is the still life in your practice? I’m very inspired by classic Vanitas still life paintings, representing the transience of life and futility of pleasure. Such as decaying flowers contrasted with rich objects. Writer/curator Paul Carey Kent came recently to see my exhibition and I liked how he described my bones flowers as “a sort of Memento Mori squared”. I don’t have any formal art history education but last year I enrolled on an incredible 10 week evening course at the Royal Academy called “The Vogue of Vanitas and Mortality” where a where a great selection of speakers swept us through the history of Vanitas and Memento Mori, to contemporary practices. Ann Gallagher (Director of Collections of British Art at the Tate) gave a particularly interesting talk about Vanitas still life artists and got me really thinking about my compositions. Your sculptures suggest you are knowledgable on all things botanical: where does that come from? Did your artistic vision come first, or did you already have a “floral education”? No, no floral education at all! I grew up in the countryside, and have always been attracted to plants and nature. I love visiting Kew Gardens, The Natural History Museum, The Horniman, and the beautiful greenhouse at The Barbican. At one point I was going to the New Covent Garden Flower Market a lot for my set styling work, and would hold onto the flowers afterwards to see how they died. Tulips die particularly dramatically and beautifully, and you can see why they were flowers of choice for Dutch Still Life’s. As Anna Souter describes them “the paintings depict vases of flowers at that uneasy moment between their sensuous peak and the inescapable drooping of their petals that follows soon afterwards” - and it’s that weight and movement that I try to replicate in my works as opposed to the species in particular. Although for one of my photographic works for ‘Remember You Must Die’ I did try very carefully to replicate some Anthurium flowers - using morning glory, bresaola ham, cornichons, and olive oil to create a drop of water. I liked the idea that you could walk past it and completely miss that it was all created of out food.

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LATEST interview You are part of the Sarabande Foundation, the artistic community created by Alexander McQueen, whose aesthetic we all know pretty well. You share the same fascination for caducity and death which, despite being central topics in art for obvious reasons, are still perceived as difficult subjects. However, your artworks seem to issue a sense of lightness and beauty. How do you think the perception of death has changed throughout the centuries and what angle do you look at it from through your work? I think we’ve become increasingly detached from death, especially in the west. It’s very apparent when you compare funerary traditions across the world, and in our own history. We’re very detached from it physically, no longer caring for the bodies ourselves or even being able to look at them. We’ve created a kind of taboo and darkness surrounding something very natural, and something it’s perfectly okay to be curious about. There’s a similar detachment to do with the way we eat - people often do not think about where their food has come from. Meat does not just appear magically skinless and boneless in super marketing plastic packaging. I’ve heard a number of people that have been disturbed late into their childhood when realizing that their dinner is from a particular animal! I think that opaqueness is really unhealthy. In my work I’m always trying to challenge the perception of bone as a signifier of death and darkness. It’s a really incredible and beautiful material. We have a huge problem at the moment with waste and manufacturing, and so I also hope to highlight it's wide availability as an industrial by product by creating works with it that appear harmless and beautiful. Your materials are clearly very important and carry a symbolic meaning: when did come up with the idea to use bones? I realize that I touched on this at the start, but it was a general interest in food as a sculptural material, and the transience of it that lead to me thinking about food waste materials that are lasting - “The gifts that cannot be eaten” as sociologist Marcel Mauss refers to sea shells in his essays on the way that the exchange of objects between groups builds relationships between humans. Food, flowers, and other transient materials make the perfect bond-forming gifts as they are solely designed to be consumed by the receiver, as opposed objects that can be passed on or sold. However he talks about island tribes who pass on sea shells, the part that is left over from consumption - by adding them to ever growing pieces of body adornment such as decorative arm bands. These objects are gifted, on special occasions to other tribes, to form social or political bonds, with the idea that for another very special reason, it will be passed on again. So back to bones, my preferred material of ‘the gift that cannot be eaten’ - I remember eating chicken, and oxtail stews and looking at the remaining bones, the spine bones in particular and thinking


how beautiful they are. These ready-made symmetrical forms were just so incredibly sculptural, floral and gorgeous and it felt like such a shame to be throwing them away. I felt compelled to reclaim them, work them into something beautiful and pass them on. Speaking about death, your work seems to simultaneously give a nod to rebirth and new life, highlighted by the fact you are committed to recycling waste materials. We think it’s extremely important to speak about the material itself - bones - because of its previous “personal history” and the fact it is not necessarily an obvious choice of material to create art. Well, interestingly bone has been used widely as an industrial material, which I generally find people aren’t too aware of. Bone is really unique in is a ratio of being so lightweight yet so incredibly strong. Historically bones were used to create weaponry, tools, musical instruments, jewelry, hair pins, buttons and even huts and shelters with much larger bones. More recently they have been used for all sort of purposes, crushed down to extract the oils to make sweets, shards of bone being used for furniture reparation, bone ash is very commonly used to distill wine (for thorough vegans they must really check how their wine is distilled), it’s crushed down and used for tattoo ink as it helps the body not to reject the chemicals (again, vegans you might be covered in animal bones) not to mention bone china, which is a highly sought after porcelain which has to be at least 30% density of cattle bone ash. Again I think recognizing the usefulness and everyday-ness of it as a material links back to us needing to reconnect with where our food comes from and how things are produced. Coming to the exhibition, it featured bone-made flower sculptures as well as photographs and various installations: Can you give us an idea on how it has been put together? The idea was really based around vanitas and trying to champion my material. I included some installations, site specific floor-to-ceiling bamboo looking sculptures and a gentle ceiling hanging mass of little flowers. I wanted to explore making more site specific work, and made use of the fact that I had the gallery in the same building as my studio and could therefore get very familiar with the space. I collaborated with a great photographer, Ade Okelarin (Asiko Artist) on a series of still life prints “The Transience of Earthly Pleasures”. We created our own contemporary versions of a vanitas still life, making floral compositions out of different materials, some transient food matter such as a bouquet of crisps and sweets, and my favorite were the couple that we had pressed dead flowers into a mass of bone powder and photographed the gentle imprint. They look like fossilized remains of plants. What are your plans for future? You seem interested in different types of art: would you like to explore other avenues other than sculpture? Moving forward I’d also really like to thinking about cross disciplinary works and collaborations - for example creating a hybrid between sculpture and photography, sculpture and jewelry, sculpture and furniture etc. There are a few things that I started to explore during the making of my recent solo show that I’d really like to alienate and develop more thoroughly, such as 3D printing, copper electroforming, going back to using food as material for sculpture-based photography, and starting to scale up my pieces. Oh and I painted with food! I wanted to see if I could make a food based vanitas work on paper, and I used different condiments to put down a floral painting. I would love to develop a series of these, and see where you could push that idea.

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Death, so human and so elusive, such an old concept, appears completely new at our eyes thanks to Witter’s works of art. Maybe this is exactly what we need: offering us the modern version of memento mori, Witter underline the most important duty we have as human beings. Honoring life. Death inspires life and Emma Witter draws new energy from bones, to then render it to the outside world in the form of beautiful, very precious sculptures.

Pure Art

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"Lights and shadows, like those who alternate in a clearing in the woods: there is something insidious in nature around us. Indomitable and revengful: more than a benign mother, she is a lover with whom we must learn to come to terms. It 's beautiful in most cases, but it can turn into our worst nightmare if abused or undervalued."

Dark Ivy

Photography Kevin Alexander Style Kimmi Ade Model Madhulika Sharma c/o MUSE NYC Photography assistant David Gannon Cinematography and lighting Joel Wolter Lead hair style Nicole Higgins Hair style Graham Nation Makeup Brad Van Dyke Set design Luciano Sandoval Jr


Gown Whisper Bridal Coat Victoria Hayes Necklaces R.J. Graziano Opening: Dress Cessani Earrings Victoria Hayes Boots Dr. Martens


Coat Asady Boots Dr. Martens Necklaces R.J. Graziano Opposite: Gown Saba Asad Necklaces R.J. Graziano Bracelets R.J. Graziano


Gown Bree Billiter Belt B-Low the Belt Opposite: Blazer, Pants Miranda Kurtishi Top Cessani Belt BCBG


Skirt as Top House of Gillian Marie Pants Nueque Belts Isabel Marant, Diesel Bracelets R.J. Graziano Earring Georgina Herrera


JOHNLEWIS.COM


must have words Giulia Greco

Every respected artist takes inspiration from the world around him. People, landscapes, situations and emotions are the lifeblood of a work of art and fashion is no exception. Designers walk around the world and compose their aesthetic vocabulary, then return to the lab and create. This is true today more than ever, because Nature is the great theme to which all (yes, all) have been inspired from for the last two seasons. Sea and mountains, forests and lavender fields, we really saw everything. Some designers preferred to get to the heart of the discussion starting from the opposite side: urban landscapes and curated gardens are the places where nature is domesticated by man, but it is not less interesting. Fashion today has an absolutely central role in the debate on eco-sustainability. Not only from a purely factual point of view, where greener policies in the production system can change the environmental impact of the sector for the better. But also from a cultural point of view: how far can the work of man go? What is the point where our actions become harmful and where instead our intelligence can actually benefit the environment? The only must have of the coming seasons will be sustainability, everything else takes a back seat. As a result, we let ourselves be inspired by natural landscapes to define what will be trendy in 2020. The urban jungle of lights and buildings seems to be our natural habitat in the 21st century: structured dresses, maxi shoulders and materials made to shine come directly from the 80s and suggest a new optimism for the union of our forces. The flower fields become prints and invade clothes and suits, the transparencies look like clear sea water on the skin and allow the see the lingerie underneath. Finally the snow on the mountains invite us for an apre ski party on the slopes, including knitted sweaters and scarves. From the sea to the mountains, with a simple change of outfit. Trends fall winter 2019/20


ARCHITECTONICAL SHAPES

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A good coat is always the best investment. This year it is a real cult piece able to define the whole outfit. Good quality, with large proportions and exaggerated shoulders, it needs nothing else. The rigid lines remind us of the modern geometric architecture of the metropolis. This one by Saint Laurent also shares with the city the shades of gray. Combined with the jumpsuit by Marine Serre and the ankle boots by Balenciaga it is a look of great impact, able to accompany us around the streets. Very modern.

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Balenciaga boots seen at netaporter.com

1. JW Anderson FW19/20 Runway show | Ph: Alessandro Lucioni / gorunway.com 2. Sain Laurent coat seen at mytheresa.com 3. Marine Serre - jumpsuit seen at mytheresa.com

Gucci sunglasses seen at mytheresa.com

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UNDER WATER

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The sea and its waves have been the inspiration for many fashion shows. Giorgio Armani, for example, directly cited the depths of the sea in the last two collections, but there are also those who took colors and textures from the sea and used them less directly. It is the case of transparencies, very fashionable this year and next one, which like water are impalpable and iridescent and touch the body in a gentle way. The silk tunic by Dries Von Noten in blue lets you see the lingerie, which must be of a contrasting color. Sexy surely, but also delicate, as the 2020 fashion wants.

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Dries Van Noten top seen at netaporter.com

The Row, shoes seen at mytheresa.com 1. Alberto Zambelli FW19/20 Runway show | courtesy of the brand 2. Emilio Pucci, trousers seen at mytheresa.com 3. Fleur du mal bra seen at netaporter.com


SNOWY DREAM

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The mountain is a popular destination for winter weekends. The breathtaking landscape is priceless, snow and chalets is the best combination to find the peace lost during the weeks of work. The look adapts to the atmosphere and this year the apre ski look will be very trendy. Embroidered sweaters, thick wool socks, coordinated scarves and hats. The Moncler jacket is the right choice to stay warm, to wear over an embroidered sweater like that of Loveshackfancy.

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Moncler padded jacket seen at mytheresa.com

1. Chanel FW19/20 Runway show | Ph: Alessandro Lucioni / gorunway.com 2. Gabriela Hearst scarf seen at mytheresa.com 3. LOVESHACKFANCY wool and alpaca cardigan seen at mytheresa.com

Gucci striped headband seen at mytheresa.com

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WINTER FLOWERS

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Flowers are not just the symbol of spring. Worn in winter they give sophistication, lightness and make us dream of warmer seasons. No need to sprinkle the complete look with petals, a single detail is enough, especially if it is this bucket hat by Valentino. The lace draws the silhouette of flowers and leaves on the face and hair and is absolutely sophisticated, even with a street note due to the cheeky shape. Wear it with a total black look and add a floral-based scent. It will be like making the spring bloom a few months in advance.

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Allude cashmere turtleneck sweater seen at netaporter.com

1. Richard Quinn FW19/20 Runway show | Ph: Daniele Oberrauch / gorunway.com 2. Floraiku parfum seen at netaporter.com 3. Alan Crocetti single earring seen at mytheresa.com

Valentino lace bucket hat seen at netaporter.com


LIKE A BIRD

1.

If you are planning some fabulous party, this look is for you. You will certainly not go unnoticed if you take inspiration from the feather trend, which everyone seem to love, from designers to trend setters. Light, fluctuating, hairy, just like free wild birds in nature, to which Prabal Gurung has certainly thought for this cocktail dress. To make the outfit really effective, add fluorescent details and have fun on the dance floor until morning lights arrive.

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Wandler leather ankle boots seen at modaoperandi.com

1. Saint Laurent FW19/20 Runway show | Ph: Salvatore Dragone / gorunway.com 2. Prabal Gurung belted feather mini dress seen at modaoperandi.com 3. Stalvey neon mini lizard top handle 2.0 bag seen at modaoperandi.com

Jennifer&Behr velvet headband seen atat modaoperandi.com Larsson Jennings, watch â‚Ź162 seen farfetch.com

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“There’s a precise moment of the day when, if the sky is clear and the horizon is limitless, the golden light of the setting sun lays on the objects and everything takes on the same color: a ocher yellow with millions of shades and tones, which glitters and sends flashes all around. In that very moment, when, like gold, everything is melted and liquid, then you feel part of it all and feel a lightness of mind that is difficult to describe in words. For this reason we need images, to understand what words cannot say.”

Golden HOURS

Photography Eva Schwank Model Bianca Henry c/o Premier Models Makeup Kristina Vidic using Nars, Skincare Omorovicza Hair style Abra Kennedy using Maria Nila


Beauty products for this winter? The answer is

Nature

Vibe words Giulia Greco

Photography Aleksandra Buca Style Paulina Biernacka Model Maja c/o United For Models Makeup, Hair Style Susanna HelĂŠn

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This is the last month of the year and soon we will say goodbye to 2019 to enter the new year. To do it the best we have collected the latest beauty trends, we have carried out cross-searches on the best products in circulation and, yes, we have also experimented on ourselves to draw up a mini list of beauty must haves for 2020. Last September was obviously a prolific month: between fashion shows, street style and red carpet we got our refill of inspiration and from there we started. Surely the general dominant trend, not only in fashion but in lifestyle, is the return to what is natural and as pure as possible. This also applies to beauty and hair. Personal care is the biggest trend of recent times and will mark the years to come. Everything starts from the products we use every day, which must be our allies to preserve and improve what genetics has already offered us. Skin and hair are left free to breathe and "to be themselves", because perfection has not been fashionable for a while now and what makes us special are our, unrepeatable, peculiarities. Winter, like the other seasons, hides its pitfalls. The cold, humidity and the parenthesis of the holidays can be an obstacle, but if you follow our advices you can preserve your beauty without problems. On the other hand though, if naturalness and minimalism are so fashionable, for some brands make up and hair style have been the ground for experimentation. They played on the eyes with colored eyeliner and glitter, extra long eyelashes and eyebrows thanks to extension (yes, extension even on the eyebrows! See the Gucci fashion show). Elaborate hairstyles, braids - many braids - and accessories of various types dominated the street style and the front row. Also the manicure has returned to the center of interest: there are those who have brought the French manicure back to the catwalk, directly from the 1990s, and those who have instead proposed extravagant nails, with shape, color and exaggerated 3D applications. Natural beauty or experimentation, these are the two poles among which the beauty world swings today. But here are the trends that you absolutely must try in the coming months!


LATEST BEAUTY l mondo della cosmetica è ultimamente protagonista di un cambiamento molto lontano dall’essere

Foto by Daria Shevtsova

Smart Mirror - HiMirror

Shirt Marni p.133 p.114 p.59 p.97


LATEST BEAUTY

HAIR STYLE: FREE TO BE Those who have curls want them straight and those who have them straight want them curly, hair is one of the focal points of our person, because if they are on point we feel instinctively better. When we compile the list of good intentions on January 1st, among others we should put: learn to appreciate our hair as it is. The fashion shows tell us: natural hair, free to float and occupy all the space they want. To have them soft, tidy and healthy we recommend using natural products and checking that they do not contain too intrusive chemicals. You can trust the Evolve Organic Beauty’s line with your eyes closed. Superfood Shine Natural Shampoo and Conditioner are handmade in Hertfordshire, England, and retain all the properties of oils and extracts from which they are derived. Your hair will finally breathe fresh air. Products opposite page: EVOLVE Superfood Shampoo & Conditioner

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La trasparenza trasparenza è il motto di La di Nabla Nabla Cosmetics, Cosmetics, chegenuinità punta allae genuinità che punta alla all’utilizzoe di ingreall’utilizzo di ingredienti vegani e cruelty-free, dienti vegani e cruelty-free, garantendo progarantendo prodotti diIlprima qualità. dotti di prima qualità. marchio italiano racIl marchio italiano racchiude nelnatura nome el’amore chiude nel nome l’amore per la l’arte: per la ènatura l’arte: Nabla un simbolo Nabla sia une simbolo che èinsia fisica si usa per che in fisica usa persiadescrivere la natura, descrivere la sinatura, un richiamo all’immasia un richiamospesso all’immagine dell’arpa, spesso gine dell’arpa, raffigurata in mitologia raffigurata in mitologia accanto Dio accanto ad Apollo Dio delle arti.ad Il Apollo brand prodelle una arti.serie Il brand propone molto una serie di pone di collezioni interessanti, collezioni molto interessanti, tra cui up la Vol.2”, tra cui la “Close-up Line” e la “Close“Close-up Line” e la “Closeup Vol.2”,disegnati due due linee di correttori e fondotinta linee di correttori e fondotinta disegnati per per ogni tipo di pelle. L’attenzione alle esigenogni di pelle. L’attenzione allenel esigenze ze deltipo consumatore si vede anche progetto del consumatore ancheinviare nel progetto “Me&Nabla” area siinvede cui poter qualsiasi “Me&Nabla” area in cui poter inviare qualsiasi suggerimento volto ad arricchire l’offerta del suggerimento volto adviene arricchire l’offerta del brand. Ogni consiglio discusso a cadenza brand. Ogni consiglio viene discusso a cadenmensile dal team. za mensile dal team.

Sulla stessa lunghezza d’onda è anche Benecos, brand tedesco specializzato in prodotti per il make-up, unghie, capelli e corpo. Tra la Sulla stessa lunghezza d’onda è anche vasta gamma offerta dal brand gli smalti sono Benecos, brand tedesco specializzato in molto interessanti; il colore è la caratteristica prodotti per il make-up, unghie, capelli e fondamentale del prodotto, dimostrando come corpo. Tra la vasta gamma offerta dal brand uno stile di vita votato al rispetto della natura gli smalti sono molto interessanti; il colore è e delle sue risorse non faccia rinunciare all’ela caratteristica fondamentale del prodotto, stro e alla creatività. I nomi degli smalti sono dimostrando come uno stile di vita votato al molto invitanti, tra le tante proposte troviamo rispetto della natura e delle sue risorse non il “bubble gum”, “you-nique”, “wild orchid” o faccia rinunciare all’estro e alla creatività. I “flamingo”, i grandi assenti sono la formaldeinomi degli smalti sono molto invitanti, tra de, i parabeni, siliconi e altre sostanze chimile tante proposte troviamo il “bubble gum”, che nocive; al loro posto invece olio di avocado “you-nique”, “wild orchid” o “flamingo”, i e vitamina H adatta per le unghie fragili. grandi assenti sono la formaldeide, i parabeni, siliconi e altre sostanze chimiche nocive; al Queste proposte non sono le uniche sul mercaloro posto invece olio di avocado e vitamina H to, tanti sono i brand che ormai stanno viranadatta per le unghie fragili. do verso una proposta etica e sostenibile, per Queste proposte non sono le uniche sul l’ambiente e per la salute e prosperità di corpo mercato, tanti sono i brand che ormai stanno e mente. virando verso una proposta etica e sostenibile, per l’ambiente e per la salute e prosperità di corpo e mente. Here and Opposite: Dress The Key Fashion Studio p.117 p.59


LATEST BEAUTY

Shirt Chloe Opposite: Skirt Monika Åšwiderska Bra TK MAX

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A NIGHT TO SHINE LASER EPILATION, HOME. There is no better evening than New Year Eve's to indulge inATsome excess and try a glittery trick. We saw it a lot on the catwalk, both for Fall Winter 2019 and for Spring SummerProfessional 2020 and itlaser neverhair-remove ceases to is no more exclusive treatment to dovisible, in specialised fascinate us. Because it is elegant whenan it is liquid and only slightly salons. It enters like Giorgio Armani did on the catwalk;beauty but also because it can our be houses thank to Philips’ Lumea Prestige is the excessively decorative and precious, like in thetechnologies. Valentino show. Whatever highlight Philips’ epilators line: you can style you prefer (and best suited to your event!) of Chanel is the brand for buy it online, it has four you. The Gel Pailleté is perfect for an elegant and luminous look:different you can heads to fit shape of yourabody and it gives use it on the eyes but also to emphasizethe thenatural décolleté, applying thin layer perfect epilation, and playing with light in your favor. Forthe a more intense effect,for a (very) long time. Technology’s efficacy Ombre Première Top Coat is available in two different colors,naturally Carte depends on type of base skin and hair, but results are visible Blanche or Penombre: spread it on a make-up to immediately create a refined and impactful twist. on everybody. Lumea system works together with a special app on our smartphone, which takes trace of sessions, creates a calendar to optimize your time and gives you all the advices you need for a better usage.

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LATEST BEAUTY

Products: ESSIE nail lacquer | courtesy of boozyshop.com Down: CHANEL the Gel PailletÊ & Ombre Première Top Coat

CHICNESS STARTS FROM THE HANDS Having cured hands is hard, especially in winter when temperatures drop and cold attacks skin and cuticles. In addition to good hydration and some home remedies to make the skin soft and shiny (have you ever tried with lemon?), a good manicure is the starting point to always be impeccable. On the catwalks the designers had fun: extra long shapes, pastel or psychedelic colors, metal or pearl applications. The french is back and we are happy with it, because it is easy to do and easy to change according to our taste. If you want to try at home, Essie has everything you need: on the website you will find all the necessary products, the suggestions of the experts and the inspirations from the fashion shows with which the brand collaborated. Among others, Moschino, Khaite, Tommy Hilfiger and Kith.

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LASER EPILATION, AT HOME. Professional laser hair-remove is no more an exclusive treatment to do in specialised beauty salons. It enters our houses thank to Philips’ technologies. Lumea Prestige is the highlight of Philips’ epilators line: you can buy it online, it has four different heads to fit the natural shape of your body and it gives the perfect epilation, for a (very) long time. Technology’s efficacy naturally depends on type of skin and hair, but results are visible on everybody. Lumea system works together with a special app on our smartphone, which takes trace of sessions, creates a calendar to optimize your time and gives you all the advices you need for a better usage.

p.117 p.59


LATEST BEAUTY

Products: AUGUSTINUS BADER Cream & Rich Cream

ELIXIR OF LONG LIFE FOR OUR SKIN If you want to follow the nude trend in the coming seasons, you should prepare your skin and make it shine of its own light. It is not as difficult as it seems, because our skin already has everything it needs and should only be treated in the right way to unleashes all its potential - regenerating and balancing. The right creams are therefore those that do not modify the pH but provide the stimuli for regeneration and repair. This is the philosophy of Augustinus Bader, a physician and scientist who, according to his careful studies, created ad hoc skin care products. The Rich Cream for dry and normal skin and The Cream for mixed and oily skin are two miraculous products, highly moisturizing and capable of stimulating our skin to autonomous regeneration.

Total look TK MAXX p.98


NATIONALTRUST.ORG.UK


CHELSEA TALMADGE From Stranger Things to Doctor Sleep, let's talk with this rising young actress words Ludovica Mucci

All images in this interview © Ben Cope p.100

Cristina Celestino: acknowledged as one of the smartest minds of contemporary design, her creativity is constantly spurred by curiosity. Indeed, being curious is what she defines as “the positive side” of any project she works on: it helps her look beyond difficulties and raises her expectations when passing from designs to prototypes. Curiosity also makes her feel free to explore past and future in their continuous coexistence between old and new. It is what makes her works the highest artistic expression embodying the combination of retro and avantgarde styles.


Let’s talk about Stranger Things: how was the experience on the set? Incredible. I continuously sing The Duffer’s and Shawn Levy’s praises. They always gave us the freedom to play; “do whatever feels right” was a phrase I remember hearing often on set. I’m extremely grateful to have been a part of it. Can you tell us more about the movie “Doctor Sleep” coming out in November? Can you describe who your character is? Yes, Doctor Sleep is The Shining sequel. I don’t want to say too much, as I don’t want to give any spoilers for those who have not seen it yet, but I play Deenie and have an encounter in the film. How did you feel working alongside such famous actors as Ewan McGregor? Working with Ewan McGregor was definitely a checkmark off the bucket list. He was immediately welcoming and inviting, I felt as though I had known him my whole life. I learned so much from him on set and we shared a lot of laughs. Where does your interest and passion for acting come from? Do you have any anecdote related to one or more of your acting experiences? My family has a bit of a history in the industry, I grew up around a lot of music. My great great uncle Sid Talmadge was president of Record Merchandising Co., responsible for the distribution of several motown artists and A&M Records. My aunt, Crickett Haskell, was talent agent and partner to Jim Gibson at The J. Carter Gibson Agency and her husband, my uncle Peter Haskell, was a fellow actor before his passing in ‘10. Even as a child, I’ve always been drawn to the entertainment world. My mother took me to see “The Wizard of Oz” when I was only three years old and she would tell you I was completely mesmerized.

Music is another part of you that you could experiment with your song “Love Bites” contained in Ice Nine Kills’ album “The Silver Scream”. How did this collaboration start? I met the lead singer Spencer Charnas through a mutual friend. We all ended up at a karaoke bar and I gained enough liquid courage to sing “You and I” by Lady Gaga. Afterwards, Spencer had shown interest in a collaboration. I didn’t actually think anything would come of it, but a couple months later he reached out with a track and that’s how I ended up recording on the album.


Your passion for music also transpires from your participation in the Strange 80s benefit show. Have you ever thought about pursuing this career? Yes absolutely, I’ve been performing with Strange 80’s for two years now. It is an annual benefit concert hosted by Charity Bomb Organization which supports mental health. I’ve always dabbled in music; it is after all my first love. However, thankfully I’ve been so overwhelmed with all of the opportunities acting has brought me that I haven’t had the time to even consider pursuing music on my own. Someday, ideally I would love to do something where I get to combine the two. How was your experience on the set of “Still the King” with the role of Mabel? Are you passionate about the world of sit-com? Mabel brought me so much joy! I would say the majority of my work thus far has been drama, so working on a sit-com is a breath of fresh air. It’s such an amazing feeling heading into work knowing you’re going to spend the whole day laughing on and off the screen. I would say I especially look forward to receiving scripts for sitcoms. Do you have any exciting projects for the future? There are definitely some things in the works, but nothing that I can discuss just yet.

p.102


y tt e r P Bows Analog Photography Mattia Pasin Style Letizia Maria Allodi Model Emma Frick c/o Milk Management Makeup Chantal Amari Hair Style Kei Takano Photo Asisstant Luca Strano Special Thanks Cre8 Studio London

For those working with art, the best advice is "keep your eyes open". Observe everything, reflect on everything, draw inspiration from everything. After all, this is good advice for everybody. Mother Nature is the most benign dispenser of inspiration we have. Bows, ruches and drapes imitate the sophistication of flowers and the lightness of butterflies.

White cotton shirt, Pale silk top Cari2ie


Yellow Velvet Dress Olivia Rubens | Shoes Ancuta Sarca Opposite: Green Silk Dress Rejina Pyo


Pink Tulle Dress Tugcan Dokmen


Camicetta LES Top Dokuchaeva Di Fronte: Top LES Gonna Vasilisa Vetrova


Opposite: Pink midi dress Naya Rea | Rings Mayu

White midi dress Olivia Von Halle | Shoes Ancuta Sarca


Here and Opposite: White Dress Irada | Shoes Ancuta Sarca


Blue dress Kata Haratym


MARKSANDSPENCER.COM


A guide to which accessories wear on a snow holiday

Glam WINTER

Reinvigorating, icy gusts of wind in a romantic and snowy atmosphere in the mountains, sipping hot chocolate, walking through the woods, ice skating, showing off ski skills on adventurous trails and end the days, spending wonderful evenings in elegant chalets. The perfect holiday on the snow must necessarily be complemented by the right accessories, functional ones, suitable for sports activities, but also those livelier and more eclectic, suitable for elegant evenings under the shadow of a warm fireplace.

All show images courtesy of gorunway.com | All products images courtesy of the reference brand and modaoperandi Here: Fendi ph. Armando Grillo, Louis Vuitton ph. Andrea Adriani FW19 show Opposite: Kenzo show ph. Alessandro Lucioni | Versace sunglasses | Casadei and Chanel Boots | Burberry, Loewe, Max Mara sunglasses

words Ludovica Mucci


The autumn-winter runway shows 2019 have suggested many ideas and suggestions of style that vary between minimal trends to others more extravagant and eclectic. Also, the accessories fall-winter 2019 are colored of various shades, favoring the dry and clean style on one side and accentuating the more eccentric, colorful and exuberant one from the other, widening the spectrum of an aesthetic that is increasingly reminiscent of distant ages and simultaneously faces the future.  Scrolling through the archives of the fashion shows fall-winter 2019, the Latest team has found some of the essential accessories for a perfect snow-covered holiday and here is a guide including some essential travel companions. On the snow you know, the first rule is to be well protected, so why not start with a nice pair of glasses? In addition to be an accessory able to define and enhance the shape of the face and display a certain allure, glasses are both functional as they protect against UV rays and other external agents that could damage our eyes. For a holiday in the snow, it becomes a must-have not only of style, but of practicality and safety. The autumn-winter 2019 collections presented some options that can be adapted to cold and snowy atmospheres. The perfect shape for winter sports is definitely the mask, which for the autumn-winter 2019 collection has been interpreted in different shades of color. Exemplary is the model signed by Emilio Pucci with shades of pink and the most aggressive and sporty of Emporio Armani in total orange. For a touch of femininity there are Givenchy and Fendi with their subtle lenses and shaded colors.  For a post-skiing look, a pair of glasses with interesting geometric shapes could be ideal for sitting in the winter sun and sipping a good hot chocolate in great style. The Zimmerman glasses with nude tones could be perfect, as well as Self-portrait glasses with hexagonal shape in red tones that evokes the aviator style. For those who want to opt for classic-chic a round glasses is what you need to face a day of snow on the ski trail or some mountain path. Zimmerman and Prada’s eyeglasses offer an ideal alternative thanks to their soft colors which are in perfect accordance with natural atmospheres. p.117


k o o L Top A simple helmet to protect the head will certainly be suitable for the most extreme sporting activities but it is not glamorous enough to satisfy a whole holiday for the most fashionistas. Chanel and Dior come to the rescue! Chanel’s autumn-winter 2019 collection, Karl Lagerfeld’s latest collection has been set in a winter chalet, therefore the French Maison can be the source of inspiration par excellence for a holiday in great style. A highlight of the collection was the hat, made accordingly to the typical white and black texture of Chanel, except for some other fantasies matching the maxi coats. This accessory is suitable for morning walks surrounded by nature, either in a forest or in a snowy plain or in a mountain town.  Super chic.  Dior’s bucket hats designed by Stephen Jones are no less. The texture and the simple and delicate shape lend themselves to multiple situations, winter hiking could be among them! Some more classic but definitely functional styles are the Sportmax caps in leather or the classic shocking pink or white caps signed Versace. If instead you want to leave your mark in an evening among friends without risking dying of cold, wool caps with applied feathers by Marc Jacobs represent a courageous and eclectic choice that will surely have the desired effect.

All show images courtesy of gorunway.com | All products images courtesy of the reference brand and modaoperandi | Here: Chanel FW19 show ph. Armando Grillo Prada winter hat and boots | Saint Laurent cotton crochet hat with crystals | Dior leather saddle belt | Opposite: Kenzo show ph.Alessandro Viero Kenzo shot detail and Etro show ph.Alessandro Lucioni | Emporio Armani sunglasses | Gucci red cap | Saint Laurent leather boots | Ann Demeulemeester gloves | Dior camp boots


LATEST aCCESSORIES

An essential part of a mountain outfit are the boots. Whether for fighting or for a quiet walk, the boots must protect from the cold and snow but also survive a day of intense sport. That’s why autumn-winter 2019 boots are perfect for a grunge-chic mountain holiday, made of metal clasps, zippers and laces. Examples of these styles are the Alexander McQueen amphibians in glossy black leather, ideal for any kind of terrain, as well as the amphibians signed Dior and Prada with lots of small pockets incorporated and supported by two straps, very useful for any need that may occur during a long journey. For a more sophisticated but always functional evening look, the black leather boots by The Row and Longchamp with dizzy heels or the Kenzo ankle boots in red flaming leather are perfect; besides, a snow holiday could also include Christmas or New Year’s Eve, right? In any case, it is better to be prepared and why not, have some options to choose from, not forgetting for example a Mary Jane red Miu Miu paint or the golden one signed Michael Kors. One certainly bold and sophisticated alternative is the animalier print. The python prints will dominate the scene throughout the fall-winter of this year, so why not bring a little exotic wind even in the snow? It will be a vintage look of all point with the python-pink of Casadei and Paris Texas. For a classic and elegant look timeless high boot in total white by Dries Van Noten can illuminate any party. p.111 p.119


What about the bags? Although it would probably be difficult to carry a bag on a ski trail or on a toboggan, but surely you cannot miss the technical backpack, suitable for every mountain sports activity. So why not opting for an ecological choice in such tourist places?  The solution? The comfortable and cozy Chanel backpack or the econyl backpack made of recycled nylon by Prada. Comfortable, functional and sustainable, also available in a mini shape to wear as a belt bag. Indeed, for those who prefer to opt for a comfortable but chic solution, belt bags are ideal for carrying essential items during an outdoor activity. For this type of accessory there is really an infinite set of choices, among those proposed by Dior, Valentino, Alexander McQueen or Chanel, anyone can opt for the type of bag or brand that best reflects their personal style. For colder days spent doing some sight-seeing we recommend the soft textured handbags in smooth or curled faux fur, a good bag that will definitely keep you warm, see the handbag in a warm brown signed Staud. Last but not least, hair accessories and jewelry. This year, the autumn-winter 2019 collections were dominated by a general fascination for the royal world, probably inspired by the latest films centered on the English monarchy, see “Queen Mary of Scots” and “The Favorite”. For this reason, we can find pearls in earrings, such as those from Emilia Wickstead, or in necklaces, in bracelets, they also become part of delicate headbands as those signed Givenchy or Dolce & Gabbana’s.  For an effortless chic evening look, pearls, with their pure simplicity, can make an unforgettable dress and embellish your face or adorn your hair as a tiara. A crown of pearls makes a snowy landscape even more magical.

All show images courtesy of gorunway.com | All products images courtesy of the reference brand and modaoperandi Here: Chanel FW19 show details ph. Armando Grillo | Simon Rocha chunky hairclip | Chanel backpack in wool shearling Opposite: Shows of Alberta Ferretti and Max Mara ph. Filippo Fior, Balmain ph.Daniele Oberrauch Up Acne Studios leather belt bag | Down: Lanvin hourglass earrings| Max Mara sunglasses | Chanel leather belt bag | Lizzie Fortunato oyster pearl necklace


LATEST aCCESSORIES

top Look p.121


LA Vita SEMPLICE Photography Katharina Werle Style Michaela Konz Model Ivana c/o Louisa Models Hair Style, Makeup Adina Hensel

“The search for happiness always takes us on tricky roads and, perhaps, the journey never really ends. After all, the journey is more important than the destination, isn't it? Today, happiness lies above all in the discovery of what is genuine. The grass under your feet and the sky above your head, the sound of the wind in your ears. At least for a weekend, we deserve to breathe the fresh air of the fields, which extend into misty and undisturbed lands. What we wear comes from nature as well, and envelops our body without forcing us. Sweaters and sleeveless vest in virgin wool, white cotton shirts and long dresses. We don't need anything else. Now, enjoy the landscape.�


Blouse Tory Burch | Pants Nobi Talai | Shoes Jimmy Choo


Total Look Miu Miu


Pullover Polo Ralph Lauren | Pants Woolrich | Shoes Sportmax


Pullover Pringle of Scotland | Skirt No.21 | Shoes Hermès


Dress Prada


Coat, Shoes Paul Smith | Turtleneck Max Mara | Skirt Nobi Talai Opposite: Dress Prada


Jacket Tory Burch | Skirt Ganni | Tights Falke | Shoes Marc O‘Polo | Hat Valentino via mytheresa.com


Cardigan Antonia Zander | Skirt Miu Miu | Vest Gauchere | Shoes Salvatore Ferragamo Opposite: Coat Salvatore Ferragamo | Dress Rick Owens via mytheresa.com | Shoes Tiger of Sweden


Top Jacquemus via mytheresa.com | Pants Max Mara


The ECOLONISTA Photography Flavia Sistiaga Style Louis Guimard Model Gabrielle Dubois Style assistant Loic Bourgeois Makeup, Hair Style Helena Henrion

To talk about sustainability has become very easy today. Anyone is willing to listen to you and it is a fertile ground on which to build reputation: a card to play without many risks. Precisely because of this relative simplification of the term it is of vital importance to talk about greenwashing today. To avoid first of all sustainability to become an easy tool with which to deceive the public - all of us included. Secondly, to ensure that there is indeed a positive feedback in the practices and policies of the producers, not only in the fashion field but also in all other sectors. In a saturated market, knowing how to choose what to buy is a moral duty above all. Greenwashing, for those who have not yet come into contact with the term, is the practice of using sustainability as a marketing strategy to increase the number of customers, without having effective feedback on a practical level. In few words, greenwashing is about all those brands that claim to be eco-friendly and make it a flag, making very little effort on a practical level. Or even those who "hide" harmful production practices under positive behaviors that are not strictly related. Misleading advertising, that's what it is in simple terms. It is not difficult to imagine how greenwashing is effectively widespread in the fashion advertising system, today that sustainability is proving to be a crucial value in the choice of consumption by customers, especially the younger ones. It is not difficult to do research and, even in small steps, coming to know how to distinguish between what is good and what is not. Just a little bit of good will and it is done. words Giulia Greco - up to page 147

p.140


The Internet is the best place to start, even though it is often a double-edged sword. Certain informations, however, are clear and indisputable and constitute the essential background we all should have. For example, knowing the fabrics, their origin and their processing. Give preference to natural fibers such as wool, cotton, viscose or hemp (yes, hemp! The most innovative and at the same time the oldest fiber) is very important, though not sufficient. Synthetic and artificial fibers, which come mainly from plastic, are extremely harmful not only during production but also after, during their life. Not everyone knows that every time a polyester garment is washed it releases a certain amount of plastic particles into the water that add new pollution to the ecosystem, in a potentially infinite cycle. Companies that demonstrate they use natural fibers are usually more conscious than others. Prices and the number of items per collection is another direct way to evaluate a brand. Low prices and countless collections per year are a sign of low (if not non-existent) respect for the environment and probably a truly polluting production system. Fast fashion chains are a sore point and talking about sustainability when considering their production system seems a contradiction in terms. It is true that some brands try to adopt and induce positive behaviors in customers, such as collecting discarded clothes or recycling. However, if these measures are good, they are also very small action compared to the negative aspects of production and cannot be taken into account in the definition of sustainability. Every small step counts, but you need to focus on the bigger damage to get effective results on a large scale. In the same way, we must be careful about the research that is carried out: that a brand is affiliated and collaborates with NGOs and humanitarian projects is, again, an commendable thing. However it is not relevant if we talk about production, because it does not tell us anything about garments and how they are made. Defining your priorities is the basis of the research.

p.105 p.143 p.63


This is indeed the second step that can easily be performed on the internet: inquire about brands. It seems obvious, but it is not at all. Reading the About section of the sites and scrolling through the published archive material regarding the production chain and the values ​​ on which it is based can tell us a lot about a brand. In most cases these informations are skipped, but it is really a good way to learn about "who makes our clothes" (do you remember the #whomademyclothes campaign on Instagram?). If we want to produce a change in the system we must reverse the trend and transform the passive consumption to which we are now subjected into a controlled and conscientious behavior, in which the producer-consumer relationship is based on mutual knowledge and trust. Looking at the web pages of the brands, we advise you to make a quick search on the certifications and the projects a brand took part to. For example, the Global Organic Textile Standard (GOTS), an independent certification that concerns the entire production process of a garment and certifies its origins and sustainability. The aim of the association, as reported on the website, is to define the standards to be respected, from the organic state of the fibers (harvesting and processing) up to the final contact with the consumer, passing through the different stages of production, so as to ensure that the whole process is absolutely transparent and accessible. Brands that have this certification have passed all the stages of control and their products are safe. It is not always easy for brands to trace the entire supply chain, especially when we talk about big productions. Production takes place on behalf of third parties and, often, it is the latter who use unconscious techniques or exploit third world workers, without the knowledge of the parent company. This is obviously not an excuse and many brands are becoming more and more interested in the issue, trying to precisely define all the steps that the garments make before arriving in store. Leaning on associations and initiatives such as the Global Organic Textile Standard is very easy, on one hand, and extremely useful on the other, because brands can be sure of what they produce, leaving experts to control all levels.

p.138 p.144


p.107 p.65


In addition to private brand websites, we advise you to consult dedicated websites such as Good Guide and Green Wikia. They are platforms created by experts who, with the help of personal experiences and customer opinions, work to create a database with all kinds of products, tracing their origin, emphasizing values ​​and composition, weighing the actual environmental impact they had in the production phase and they will have over time and providing recommendations. These two are more than anything else focused on personal care and lifestyle products, but we also remind you of the case of AURA, the platform dedicated to traceability of luxury goods patented by Microsoft in collaboration with LVMH, which is reliable and important for the our future, so our hope is that more and more brands will decide to use them. Along with this we want to add the new interest of government institutions, which in recent years have created laws specifically for the control not so much of product processing - which is not a new subject - but for the control of advertising and communication, which it is subject to scrutiny to ensure customers that they are truthful and relevant. Even on the international level there are agreements that certify the commitment of brands. In the last year the Fashion Pact was presented at the G7 in Biarritz: the brands that signed the agreement are committed to achieving the defined goals to reduce the ecological impact caused by the textile sector. As members we find, just to name a few, Adidas, Burberry, Giorgio Armani, the Inditex group and H&M. The resources are many and a little research is enough to become a little more aware in the purchase. The practice of greenwashing is, unfortunately, very extensive and often even unconscious. This depends on the scarcity of information and perhaps also on the scarcity of professionals in the field of communication. Those who speak to consumers today are influencers and bloggers who, in most cases, do not have a proper education on the subject and merely sponsor products whose origin or composition is not ascertained. Surely this does not apply to anyone, but causes a large part of the problem. So let's get informed, but in a critical way. We do our researches, we try on our skin and we try to pass on our knowledge, albeit minimal, to those around us. The era of passive consumption is certainly over.

p.146


Dettaglio di dipinto by Damien Hirst at “The Veil Paintings” di Gagosian, Los©Damien Angeles. Foto byinEmily per Artsy Dettaglio di dipinto Hirst “The Berl Veil Paintings” al Gagosian, Los Angeles | foto Emily Berl per Artsy

Damien Hirst. Damien Hirst è uno dei principali esponenti del movimento pittorico inglese contemporaneo e la sua arte, geniale e personale, desta grande interesse nella critica. Tema principale è la morte, che Hirst indaga soprattutto in relazione al mondo animale e che emerge dalle sue opere come un aspetto naturale della vita che accomuna tutti noi. Nonostante la tematica in sè sia tradizionale, l’artista britannico l’ha ampliata in modo del tutto originale: animali morti sezionati (così da mostrare sia l’interno che l’esterno del cadavere), collage di farfalle You with many brands like e uncollaborated famoso teschio tempestato di diamanti, fino alla composizione Cartier, Estee Lauder or David Webb, brands della Biennale di Venezia del 1993 composta da metà mucca e metà that have their own creative identity. How did che Hirst predilige vitello. Il mezzo d’espressione non convenzionale you manage to find the balance between theirvuole in realtà eliminare può creare shock nello spettatore, ma l’artista artistic your style in these il timoreguidelines e il doloreand che l’uomo prova quando si rapporta alla morte, collaborations? per creare una fruizione serena. Le sue istallazioni sono composte di materiali diversi, da pittura, scultura e disegno insieme e indagano un Many of these brandstra were wonderful work territorio al confine arte e scienza,toche l’uomo cerca costantemente with, fortunately! We worked closely together to La reazione fisica di esorcizzare attraverso la religione e la medicina. do something that felt both on brand for them istantanea che lo spettatore sperimenta davanti alle istallazioni è la and authentic to my work style.perchè There solo weredopo un brivido o un parte più importante per and l’artista, times when this didn’t always happen (especially senso di nausea, l’audience può iniziare una riflessione proficua sulla inmorte. the beginning), but overtime I have learned toNon fight it where cananche - or turn down the project. solo morteIma - e soprattutto - vita. “The Miraculous When there’s not a certain respect in the più criticate di Hirst e risale Journey” è una delle istallazioni scultoree collaboration it’s often very successful al 2005, realizzata per not l’inaugurazione del for nuovo Sidra Medical Center either party. At the same time there’s sometimes in Arabia Saudita. Le 14 sculture monumentali (sono alte dai 5 agli 11 ametri) challenge of èfiguring outraccontano how to create di cui composta il “viaggio” del feto dalla feconsomething authentic that works for both of you, della vita e toccando dazione fino alla nascita, celebrando il miracolo which I find fun. It may not always be clear tematiche inusuali per il mondo del medio from oriente. the get go. Hirst divide la critica e accanto a chi celebra la sua arte come visionaria c’è chi ne disprezza lo stile e lo sfarzo. Materiali preziosi, strutture esagerate e moltissimi soldi spesi per attrarre fama e visibilità, senza contare la lista lunghissima di artisti a cui Hirst ha “rubato” elementi e idee, senza alcuna paura ad ammetterlo. p.107 p.59 p.67


"Unable to perceive the shape of You, I find You all around me�. Even without looking, I perceive the world around me, because it comes under my skin. I don't need a mental image to know if the sun is shining or if clouds form a layer between me and the universe. I recognise the smell of rarefied air when it is almost winter and I sit in the tall, dry grass on the lake shore. I know what color the stones of the path are. I don't need to see it, hear it, smell it. The world around me speaks my own language and I can feel it.

Cold

LAKE

Photography Jaan Eric Fischer c /o Katrin Hohberg Style Izabela Macoch c /o Katrin Hohberg Model Esme Ham c/o Le Management Makeup, Hair Style Bert Kietzerow using Chanel, Londa professional, Kadus professional


Coat Fassbender | Top Odeeh


Coat Dawid Tomaszewski | Dress Lena Hoschek | Turtelneck Dorothee Schumacher | Socks Falke | Shoes Dr Martens Opposite: Vest Nobi Talai | Pullover Marcel Ostertag | Shoes Dr Martens


Dress Marina Hoermanseder


Vest Nobi Talai | Pullover Marcel Ostertag | Shoes Dr Martens Opposite: Dress Nobi Talai | Skirt MaisonnoĂŠe | Tights Falke | Ankle Boots Dawid Tomaszewski


Top Odeeh


Dress Lala Berlin | Sweatervest Maiami Berlin | Overknees Laura Gerte Opposite: Overall Leonie Mergen | Jacket Lina Phyllis Falkner


Coat Lena Hoschek | Dress Dorothee Schumacher | Top MaisonnoĂŠe | Tights Falke | Shoes Dr Martens Opposite: Poncho Nobi Talai | Dress MaisonnoĂŠe | Ankle Boots Dawid Tomaszewski


Selina WAMUCII the African Farmer who's really helping all her country production words Ludovica Mucci Is called Selina Wamucii, the African company that manages a community of smallholders through a social platform. The objective of the organization is to ensure a high standard of quality of the food produced and at the same time to ensure the integration of small landowners also from remote areas of Africa into the complex system of buying and distributing the agricultural products. According to the company’s estimates, about 60% of food produced from farmers in Africa is likely not to reach the market due to the producer’s residence in remote areas or the lack of adequate certifications to distribute the harvest worldwide, with the risk of losing the crop, wasting high-quality food and worsening the precarious living conditions of farmers. Selina Wamucii’s work lies between the producer and the buyer; indeed, through its platform it will be possible to establish contacts between these two realities and guaranteeing the tracking of the harvest and its quality. Access to the service is via smartphone by contacting a USSD code. p.162


courtesy of Expo2020Dubai.com

By 2025, the company aims at covering every single African farmer

She also guarantees a real training program through which the manufacturer can improve its processing and cultivation process using tools and products that are undamaging for the environment and thus reaching a balance between the development of the economy and a respectful attitude for the ecosystem on which they work. The food produced could correspond to a healthy and complete livelihood, since it concerns every food category, from fruits and vegetables, to fish and meat, spices and herbs, seeds and pulses and other goods including coffee and tea.

important sectors of the continent. In this scenario of innovation and expansion is placed the work of Expo Dubai 2020 and in particular the contribution of Expo Live, the financing program introduced by Expo Dubai 2020, which has indeed established a partnership with Selina Wamucii with the aim of supporting it and accompanying it towards the achievement of this important objective.

The collaboration will include a one-year grant program, in which the association will support At the moment, the system implemented by Selina Wamucii in implementing new features for the organization is dealing with value chain the social platform, including the recruitment of enhancement in Ethiopia, Kenya, Tanzania, Rwanda, new farmers and the achievement of the GLOBAL Uganda, Mozambique and Madagascar. GAP certification, one of the most recognized and By 2025, the company aims at covering every required certification by many European members single African farmer and therefore cooperating in of the Great Distribution Organized together with the development and growth of one of the most the Organic certification. p.161 p.153 p.155 p.177


“Selina Wamucii’s accessible and effective platform could significantly boost the earning potential of farmers, as well as reduce the amount of produce that is wasted” declared Expo Live’s vicepresident Yousuf Caires, “the idea coincides with all of Expo 2020 Dubai’s three subthemes, by enhancing opportunities and the efficient mobilisation of goods, and contributing to a more sustainable agricultural industry. With a firm belief that innovation can come from anywhere to everyone, we are searching the globe for creative solutions that already have a social impact. By funding, accelerating and promoting the best initiatives, we hope to leave a lasting legacy not only in the UAE and the region but across the world.” Live Expo is not the only partner of Selina, the company has indeed made agreements with one of the largest premium fashion brands in the world, Tommy Hilfiger, which in 2018 launched

p.164

the Social Innovation Challenge, an initiative that aims to support start-ups and offer advice to companies that are creating new solutions to improve the quality of the fashion value chain. Selina Wamucii also works with communities of small farmers who produce cotton, one of the most used fabrics in the fashion industry. With the aim of integrating a more sustainable approach, Tommy Hilfiger supports Selina Wamucii in the development of the value chain, starting with the improvement of cotton quality to achieve high production standards.   The work of companies such as this is an example of collaboration and valorization of small communities, in order to make them active players in the development and advancement of the economy of the continent while preserving a sustainable lifestyle that does not harm the environment. The result is a perfect balance between nature’s and man’s needs.


NATIONALTRUST.ORG.UK


ARCHITECTURE OF THE FUTURE?

is Green

The line between dream and reality gets thinner and thinner Climate change, rising sea levels and emissions of CO2 are issues that are being discussed every day and that represent the greatest challenge that humanity has ever faced to try to reverse the course on which it set its evolution.

Hyperions Eco-Neighborhood India | courtesy of Vincent Callebaut

words Ludovica Mucci up to page 171

p.167


Editor’s letter

Oxygen Eco Tower | courtesy of progettocmr.com

The threat of entire ecosystems disappearing, the continuous and unheard alarms coming from the Earth itself and the migrations of entire people are worrying and require immediate solutions on different levels, be these social, cultural or economic. Thus, the implementation of a sustainable life model ceases to concern only few industries but becomes a common responsibility. In this order of ideas, are exemplary the first steps taken by the world of architecture in conceiving sustainable urban spaces, that are respectful of the environment and that can be adequate for the future generation, which not by chance, is the one that is asking for decisive action and not only for words or plans with an expiration date. The terms most used to describe this commitment are different, but they all share the same purpose. Indeed, we are talking about bio-architecture, an architecture that presupposes an ecologically conscious action with full respect for ecosystems, or even about green architecture, which limits energy waste by implementing more sustainable tools and considering the long-term impact of the buildings that are created. Latest team has selected some noteworthy projects that are defining the arduous path towards a long-term

p.168

sustainable future, spacing through absolutely creative and futuristic ideas, to more immediate and practical solutions to be implemented. Before we embark on the sustainable route, however, we need to cite some historical facts.  Contrary to what you might think, the idea of a green architecture dates back to the 60’s and the early 70’s, when social philosopher and critic Lewis Mumford, Ian Scottish-born landscape architect Ian McHarg and British scientist James Lovelock laid the foundation for green design, spreading some key environmental principles. It belongs to Mumford, the philosophical thought that in order to subvert the system of power and waste generated by an unbridled use of high technology, people needed to use the energy produced by the sun and plants to obtain food and manpower.  It is Ian McHarg’s idea that of the Earth as a living organism in serious danger, that has to be protected by compacting as much as possible the urban centers in order to allow natural environments to flourish in complete autonomy. The conception of the Earth as a unique organism able to survive based on its delicate natural balance is further developed in Lovelock’s Gaia Hypothesis.


These initial formulations are the basis for the following theories and standards of conduct for the protection of the environment, such as the important milestone reached by the community of architects and builders in 1994 with the emanation of the Leadership in Energy and Environmental Design (LEED) by the U.S. Green Building Council, which established some of the basic principles for green buildings, including recycling of materials, the use of resources without toxic substances, water saving and where possible, a reuse of existing buildings. Amongst the many architects, critics and physicists who dedicated themselves to this issue,we can find architect Malcolm Wells, architect Pliny Fisk III, founder of the Center for Maximum Potential Building Systems in 1975, the couple of physicists Amory and Hunter Lovins, founders of the Rocky Mountain Institute in 1982, a center dedicated to research and promotion of the theory defined by McHarg and Lovelock, and architect William McDonough, who in 1985 built the Environmental Defense Fund Building in New York, the first urban site capable of conserving energy thanks to the introduction of innovative indoor systems, including an air treatment. The research and pioneering innovations of these representatives are today an important source of inspiration and more generally a guide in the definition of new structures that follow the needs of modern life. This is the case of a conceptual skyscraper for Alexanderplatz in Berlin developed by architects Agnieszka Preibisz and Peter Sandhaus, conceived as an eight- structure that revolves around gardens and supported by cables. Green8, the name of the skyscraper,would respond to the needs of modern families who wish to live in an urban context in harmony with nature, that does not sacrifice the dynamism of city life and that at the sametime celebrates a lifestyle respectful of the environment.

up: Bosco Verticale | Stefano Boeri | photo of Plflcn down: Nautilus eco resort Philippine | courtesy of Vincent Callebaut


Editor’s letter

The project is developed around an idea of collective cooperation, imagining a space not only used for living, but a place where you can grow your own food, carry out sports and leisure activities, suitable for old and new generations. At the moment, the architects are consulting with engineers to verify the viability of the structure. Dating back a few years but no less innovative, is the structure designed by the CMR Project team in 2016, the Chongqing Jihua Yuelai Oxygen Tower, located opposite the Jialing river, in the Yuelai Expiation Town area in Chongqing in China.  The geometric pattern of the structure is that of a flower rising upwards. The structure is made for luxury residences that remains however faithful to nature, thanks to the numerous private gardens that join the innovative structure of the building, creating exclusive balances. Famous all over the world for its pioneering structure, the Vertical Forest in Milan, designed by Boeri Studio, (composed by Stefano Boeri, Gianandrea Barreca and Giovanni La Varra) still represents a brilliant example

up: Green8 Berlin | courtesy of Peter Sandhaus down: Hyperions Eco-Neighborhood India | courtesy of Vincent Callebaut

of Italian creativity and manpower, as well as an urban model composed of a real ecosystem tailored to the apartments. Defined by the jury of the International Highrise Award 2014 as a “great example of symbiosis between architecture and nature”, the Vertical Forest has received the award for the world’s best skyscraper. Inaugurated in October 2014, it was a project that aimed to redevelop the green areas in Milan in view of the Expo 2015. Among the many innovative technological solutions for environmental protection have been applied wind turbines, photovoltaic panels used to cover parapets and roofs and geothermal energy for the heating and the air-conditioning systems. In the skyscraper grow more than 1.000 specimens among plants, bushes, flowers and trees, supported by insects inserted in this context in order to favor the natural maintenance of the small


Hydrogenase project | courtesy of Vincent Callebaut

ecosystem. The microclimate established produces humidity, which absorbs C02 and fine particles and ensures the continuous circulation of oxygen. The cost of the apartments is very high, but there is still hope that similar models of “ecological buildings” will spread into the urban environment and become the norm. This utopia is perhaps not meant to remain so. Some of the most visionary ideas of Belgian architect Vincent Callebaut suggest the desire, in addition to the need, to consider urban areas that coexist with nature. Callebaut’s idea is to reduce emissions and privilege a green point of view by exploiting solar energy and even the currents of air and sea. Among the various futuristic projects of this visionary architect, surely noteworthy is the “Nautilus Eco-Resort”, a project that aims to fight environmental degradation of the Philippines caused by extreme fishing activity, by the strong tourist currents that assault these magical places and by the general climate change taking place. The project foresees zero emissions, zero

waste and zero poverty, thanks to recycled materials directly taken from the archipelago, and has the objective of spreading the idea of a more conscious tourist activity. The project is currently in a schematic design phase. From the Philippines we arrive to New Delhi, for which Callebaut has imagined “Hyperions”, a schematic design project designed to stimulate the activity of green agriculture. Almost belonging to science fiction is the project “Hydrogenase” designed for Shanghai, which consists of a vertical biohydrogen aircraft equipped with algae farms that recycle CO2. The ideas for a green architecture are not lacking and some of these can certainly be realized in the near future. The Expo2020 in Dubai will certainly provide new and stimulating perspectives.  Meanwhile, the title of the exhibition “Connecting minds, Creating the Future”, can already give us some clues. We just have to wait and see what brilliant innovations will shape our society in the years to come. p.171


“Straight lines and geometrical structures. Who lives in the city knows the regularity of man-made things. A life that takes place on the black and white scale, where nuances and uncertainties have very little space. Here, details become fundamental: like a shirt with floral applications, which brings with it the sparkling chaos of the world outside the walls.”

Exit Photography Christina Kapl

Style Marcello Bona Model John-Lloyd c/o Izaio Management Grooming Stefanie Stürmer Using Oribe and Dior


Opening: Pullover, Pants Salvatore Ferragamo |Shoes Bally Here: Total Look Jil Sander| Opposite: Shirt, Pants Acne Studios | Shoes Jil Sander | Bag Stone Island


Total look Prada | Opposite: Jacket Stone Island | Pullover, Shoes Jil Sander | Pants Emporio Armani


Total Look Louis Vuitton


Sustainable

WINTER

HOLIDAY

Hotel Ice Q |©Rudi Wyhlidal


LATEST Paradise

We have been talking about eco-sustainable tourism for the whole of 2019 and, as you know if you already follow LATEST for a long time, we are very interested in discover all the paradises of the world in which you are able to enjoy the visit in a dream resort, without going to impact with the environment. So, we close the year with he perfect winter green holiday; what better place to go for festivity or, why not, take a break after December which, you know, is never really a month of great relax. In Italy this year was the year of "Slow Tourism", aimed at promoting our own paradises minimizing the ruin of the ecosystems. Car free ski destinations, zero kilometer food, energy solutions and eco-friendly construction, possibility to recharge bikes and electric cars for free. Many countries are trying to do what they canto attract tourists in this new way of doing vacation, succeeding perfectly in the intent. Watch a panorama, eat in a shelter mountain knowing that our needs do not will create problems in the environment of whose hospitality we are enjoying, it really is one good feeling and many people are discovering it. Perhaps the sporting weekend in the cold weather during winter is not for you, but in these magical hotels any walk, even the hardest will be fully repaid from multiple spa and culinary options. So let's see our selection for the perfect one green winter holiday. p.181


Zero I

courtesy of oberholz.com

THE OBERHOLZ LODGE - Obereggen (BZ) One of the best successful examples of sustainable alpine architecture. With breathtaking views from the three halls and the 360° panoramic terrace, from which you can see the highest and most important peaks and mountain chains of the Central Alps, gourmet mountain dishes, here is the Oberholz lodge (altitude 2096 m), easily accessible from the station downstream of Obereggen with the homonym chairlift. Unique in its kind, it was built with local wood and its shape resembles a tree lying down, whose branches culminate in the three terraces that, in turn, recall the ancient mountain stables seen from outside. Extensive menu with gluten-free, lactose-free, vegan and vegetarian options. Impossible not to want to stop and eat while sitting near those windows, giving yourself a real spectacle for eyes and taste.


Impact

Obereggen landscape ŠTappeiner

OBEREGGEN - Dolomiti Ski Area When they tell you that the zero impact on the territory is impossible, here comes Obereggen, one of the most popular skiing and hiking areas in the Dolomites. With 48 km of impeccably maintained tracks (even open at night), the entire resort has long since espoused the cause of sustainability. When the ski area was opened, it needed about 500,000 liters of diesel per year for heating. This consumption now amounts to? Like zero! In fact, for more than ten years, the area has warmed up independently thanks to a system that uses residual chips wood (and how many carpenters do we have in mountains?). It is converted into heat and hot water then reaches the surrounding companies. Not enough for you? In Obereggen the emissions are practically nil thanks to modern generation fine dust filters, and most of energy is saved thanks to heat recovery units. Skiing on very white, but green snow. p.177 p.183


Top

Pineta hotel Junior Suite Arnica | courtesy of pinetahotels.it

PINETA NATURE RESORT - Predaia (TN) With eco-friendly energy and construction solutions, the Pineta has become a true Eco Hotel in Val di Non, whose philosophy aims at minimum environmental impact. Solar panels, biodegradable wrappers, biological and local products, biomass heated wellness center, possibility to recharge bikes and electric cars, free shuttle service to reach the ski tracks. All that needs to be done is done, what needs to change is changed. Because we have the real solution in our hands and it's up to us to decide. The chalets and suits made of local wood are magnificent and have all the comforts. The 1200sqm super spa will be your place of total relaxation, where you can turn off your mind and rest your muscles after the sport of the day.


Offer

courtesy of thalassospa.it

HOTEL NOTRE MAISON - Cogne (AO) Inserted in the Gran Paradiso National Park, the hotel offers a natural and healthy holiday in name of sustainability, respect for nature and the connection with the territory, its products and its traditions. The structure is guaranteed by the Gran Paradiso quality brand, an identification tool that the Park assigns to those are engaged in a path of quality and sustainability. The biomass cogeneration station they built guarantees thermal and electrical energy self-sufficiency throughout the year. Top wellness center with unforgettable alpine lake outside the hotel. Heated water to 35°, hydromassage and aerotherapy stations in a suggestive natural scenery. Area renowned for cross-country skiing and if you are a fan of cascatism, there are 150 to climb!

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