EDITORIALS
EDITORIAL
Editorials are born from the encounter between Art and Fashion: each project begins with observing an artist’s work and translating it into a visual narrative through photography, materials, and cultural references.
Each series is developed in relation to an exhibition or a relevant artistic theme, becoming both a tribute to the artist’s imagery and a bridge that brings the public closer to their ideas. The process combines iconographic research, analysis of visual languages, advertising thinking, and experimentation. Reinterpretations, collaborations, and incursions into artists’ studios converge into images that do not imitate but amplify the vision.From this method emerges a language that blends cultural depth with aesthetic impact, capable of generating new narratives and new connections between Art and Fashion.
INSPIRED BY TETSUYA ISHIDA
VOGUE ITALIA
Tetsuya Ishida was a Japanese painter capable of exposing, with an almost surgical clarity, the alienation of contemporary society.
His figures— often fused with objects, machinery, or claustrophobic environments—reveal the pressure of work, the loss of identity, and the feeling of being trapped within a mechanism larger than oneself.
His surreal and powerful imagery continues to resonate
because it speaks directly to our everyday anxieties.
In our 3D reinterpretation, we chose not to limit ourselves to a simple homage, but to translate his poetics into a new dimension: more tangible,immersive, physical. We preserved the restless, introspective tone of his work, but used three-dimensionality to amplify the sensation of being inside it, as if the viewer could almost touch those visual metaphors and feel their weight.It is a way of bringing Ishida’s vision into a contemporary language without losing its emotional intensity.
INSPIRED BY
NICOLA SAMORì
VOGUE ITALIA
Nicola Samorì is an artist who plunges his hands into pictorial matter with an elegant ferocity. His work often begins with a Baroque visual language—faces, bodies, chiaroscuro atmospheres—only to subvert it through abrasions, lacerations, drippings, and physical interventions that destroy anreveal at the same time.In each piece there is a magnetic balance between beauty and annihilation: form emerges, unravels, transforms under the viewer’s gaze. Samorìuses violence as a tool of knowledge, as if wounding the image were a
way of digging into its essence.
In our reinterpretation, we took that gesture of “rupture” and translated it into the digital realm. Instead of cutting into matter, we distorted the facethrough glitches, algorithmic erosions, vertical fragmentations that act as a contemporary version of his manual abrasions. It is a way to dialoguewith his imagery without imitating it: to bring the same tension between presence and erasure into a 3D language that uses limit, error, the collapseof data as a new form of painting.
INSPIRED BY VIRGINIA MORI
VOGUE ITALIA
Virginia Mori constructs suspended worlds where childhood, dream, and unease coexist in a very subtle equilibrium. Her illustrations — almostalways made with black and blue ballpoint pen — are inhabited by multiplying bodies, beds that become oceans, clothes populated by faces.Everything is simple and yet unsettling at the same time: a fairy-tale aesthetic that always leaves a small scratch on the gaze, as if what seemsharmless were hiding a deeper shadow.Mori works by subtraction, relying on essential lines and intimate scenarios to bring universal states of mind to the surface.
In our reinterpretation, we took that poetics of “normality that deviates” and carried it into photographic and fashion language, without betraying itssoul.The scenes we created function as world-images: the bed transforming into the sea, duplicated bodies, garments inhabited by gazes.We pushed her imagery into a more physical, more tangible aesthetic, where the delicacy of her drawings becomes three-dimensional vision andher domestic surrealism opens into a more theatrical narrative.It is a way of paying homage to her intimate universe, amplifying it into a new and immersive dimension.
INSPIRED BY
ERNEST TROVA
VOGUE ITALIA
Trova was an artist profoundly obsessed with the human figure as a universal symbol.With the series The Falling Man, he built a visual alphabet
based on repetition, progression, and geometry: a stylised body that falls, rotates, multiplies, becoming a sign, an index — almost an algorithm ante litteram.
His compositions play with rhythm, color, and symmetry to transform the human into pure form, into a sequence that speaks of precarious balance, modernity, and fragmented identity.
In our reinterpretation, we took his modular logic and filled it with flesh, fabric, and light.The body is no longer a flat icon, but a photographic subject
that becomes pattern, mechanism, visual architecture.
In our reinterpretation, we took his modular logic and filled it with flesh, fabric, and light.The body is no longer a flat icon, but a photographic subject
that becomes pattern, mechanism, visual architecture.
We translated Trova’s grammar into a language connected to fashion and contemporary imagery: real figures entering orbit within circles, squares,
and trajectories that echo his serigraphs.
The result is a dialogue between two-dimensionality and three-dimensionality, between graphic gesture and physical presence — a way to update
his research while keeping its mental structure intact, pushing it into a more vivid and dynamic visual universe.
INSPIRED BY
AI WEI WEI
VOGUE ITALIA
Ai Wei Wei does not simply create artworks: he constructs systems of thought. Every artistic gesture of his — from the overturned everyday object tothe monumental installation — is a political act, a way of transforming reality into a question and matter into an ethical stance.His work holds together formal discipline and dissent, fragility and monumentality: the body as a tool of resistance, identity as construction, beauty as a device that destabilizes. Nothing is neutral; everything vibrates with meaning.In our reinterpretation, we gathered this energy of defiance and translated it into a photographic language that uses fashion not as ornament, but as a conceptual structure.
Bodies become statements: sculpted, sharp, almost architectural. Nudity is not provocation but exposed truth, while objects — the bag, the writing on the skin, the oversized bottle — function as symbols that destabilize and confront.We worked on an aesthetic that alternates control and rupture: hard lines, poses that challenge the very idea of representation, a reduced palettethat amplifies the underlying political tension.In this way, Ai Weiwei’s legacy — his ability to transform the body into a social gesture and the image into an act — expands into a new visualdimension.Not a simple quotation, but an homage that embraces his radicality and reinterprets it within a more pop, more fashion-oriented imagery, yet equallyincisive.A rebellion built with surgical elegance.
''CRUSH''
SPECIAL PRADA
VOGUE ITALIA
From the absurd to hilarity, from repulsion to attraction.The model-actresses appearing in the video written and directed by Veronica Mazziotta and produced by the studio Cartacarbone emerge at times as ethereal maidens of undefined age, when the disposition of the spirit becomes more melancholic and dark; at other times, they appear as young women bearing messages of irony and lust.The violence that springs from their behaviours stands in stark contrast to the lightness and elegance typical of Prada’s colours in their garments.But it is precisely through this short circuit — an almost intrinsic cruelty in the gestures of their faces and bodies — that a teasing web of references settles into the viewer’s mind.A viewer, of course, who cannot be unfamiliar with that crucial moment in contemporary art when artists, confronting the arrival of technology ineveryday life or the possibility of transcending the limits of their own bodies, explored new frontiers of expression.
Under this magnifying lens, the traces of certain artists appear like ghosts — icons of the global art star system whose performances and videos marked a turning point in imaginative power. From Marina Abramovic exploration of the body’s potential to the sculptural force of MatthewBarney’s works.What once did not exist, what had never been imagined, suddenly existed.Another strong contrast — both visual and conceptual — unfolds in the relationship between the images presented, rich in subtle citations and connotative gestures, and the black backdrop that hosts a fleeting sentence, like a subliminal message.A warning that invites annihilation, total detachment, leading all the way to the complete renunciation of the self: annihilation.This constellation of elements immerses the atmosphere of the video in a rarefied and sharply ironic, semi-serious dimension. Søren Kierkegaard wrote, “irony is the keen eye that knows how to grasp the crooked, the absurd, the futile of existence.”
INSPIRED BY FRANCIS BACON
VOGUE ITALIA
Francis Bacon transformed the body into a field of pure tension: flesh twisting, identity collapsing, rooms that feel like mental cages.In his triptychs, space becomes a cruel theater where everything vibrates — the human figure is at once fragile and ferocious, as if living its own existence under an invisible pressure.His geometric structures — those cubes, those suspended frames — do not contain the subject: they expose it, destabilize it, reveal the constantoscillation between form and dissolution.In our reinterpretation, we embraced that tension and carried it into a photographic language built on impossible postures, bodies that give in or resist, rooms that become soft traps.The figures do not pose: they deform, slide, surrender.
Structured, layered, taut garments become membranes that amplify the distortion — surfaces that hold the traces of movement and impact.
Warm lights, sharp shadows, enclosed spaces construct a claustrophobic atmosphere that echoes the triptychs: not an imitation, but an opening.
Here Bacon is not quoted, but evoked. His emotional brutality becomes a contemporary vision; his painterly flesh translates into skin, fabric, gesture.It is an homage that takes his iconography — the cages, the contorted pose, the suspended body — and pushes it into a more physical and cinematic imaginary.
A way to look at human vulnerability not from afar, but from within, allowing the photograph itself to tremble, pulse, and breathe like a living creature.
LA SETTIMA ARTE
THE MRV MAGAZINE
We selected some of the most iconic posters in the history of cinema—images that have shaped generations, defined aesthetics, and created shared imaginaries. Not to pay nostalgic homage to them, but to reactivate them.We took them, passed through them, dismantled and reassembled them through a contemporary gaze.The process was simple and radical at the same time: we replaced the original actors with models, not to replicate but to reinterpret. Every pose, every garment, every atmosphere became a bridge between past
and present, between myth and current identity. The model’s body becomes a new lens, the costume a translation, the poster an open field where memory and imagination meet.These posters are not copies but variations: they respect the visual force of the films they originate from, but speak with a new voice.It is a way of rewriting images we all think we know, giving them back freshness, tension, and above all, possibility.Because an icon stays alive only if it continues to change.
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