Već decenijama ste istaknuta figura u modnoj industriji. Kako ostajete relevantni i nastavljate da razvijate svoj stil?

U modi nema postavljenog odredišta. Morate nastaviti da idete napred. Moda se konstantno menja, pa se uvek morate iznova izmišljati. Srećom, imala sam mnogo iskustava: kao novinar, kao stilista, kao konsultant, pa čak i kao influenser, ako uzimamo u obzir današnji digitalni svet. Jezik mode evoluira, i njeni protagonisti moraju da evoluiraju u skladu s tim. To vas takođe drži stalno svežim. To je uzbudljiv izazov.

Kako je vaše iskustvo u novinarstvu uticalo na vaš pogled na modu i stil?

Mnogo. Novinari imaju jedinstvenu privilegovanu poziciju. Možete biti nepristrasni, sposobni da posmatrate sve i koristite se svim izvorima. Dobrodošli ste svuda, što vam omogućava da posmatrate modu iz ptičje perspektive. Ovaj ugao pruža neprocenjive uvide, podstičući kritički mentalni sklop koji prevazilazi predrasude. Takođe omogućava objektivnost i jasnoću u konsultantskim ili drugim nastojanjima. Lično, suzdržavam se od jednostavnog izražavanja da li mi se svidela modna revija ili ne. Nije reč o ličnom sudu, već o nijansiranom kritičkom vrednovanju. U modi postoji stalna evolucija kreativnih jezika, dinamički talas koji pokreću dizajneri, sličan reki u punom toku. Biti novinar oduvek je bio moj san i moje bogatstvo, posebno u razlikovanju između lepog i ružnog, talenta ili nedostatka istog. Modni novinari moraju da shvate šta moda odražava o našem uvek promenljivom društvu.

Koju ulogu mislite da moda igra u samoprezentaciji i samopouzdanju?

Zaista, igra veoma važnu ulogu. Moda zauzima značajno mesto u oblasti samoprezentacije i samopouzdanja, služeći kao kanal za oslobođenje koje se emancipovalo od sudova i predrasuda. Ona stoji kao simbol raznolikosti, utelovljujući sveobuhvatni način izražavanja koji osnažuje pojedince da otkriju svoje istinsko biće. Može da prevaziđe sve granice polova, društvenih uloga i društvenih klasa. Moda izvlači našu podsvest na površinu; stoga je ona krajnje sredstvo za slobodu.

Šta mislite o održivosti u modi i kako je to uticalo na vaš rad?

Razgovarali smo o tome kako se osećaj slobode i samoprezentacije razvijao… i održivost je zaista izazov. Svi sada obraćaju pažnju na ovaj problem, koji je verovatno najhitniji i najozbiljniji problem u današnjoj modi, kako na malom, tako i na velikom nivou. Još 2018. godine osetila sam želju da uzvratim, da ponovo uvrstim svoju odeću u cirkulaciju. Zato sam aukcirala celu svoju kolekciju pod parolom recikliranja i trajnosti. Danas je fokus na ponovnom uređenju naših garderobera i ponovnoj upotrebi stare odeće. To se odnosi čak i na nove predmete. Na primer, u intervjuu Vanesse Friedman, Phoebe Philo je naglasila da odeća treba da ima osećaj trajnosti, čineći uređivanje i odbacivanje neophodnim da bi se stvorila vrednost koja traje i izbegao prisiljeni konzumerizam. Takođe, reč je i o konceptualnoj vrednosti. Iza odeće mora postojati misao, znate.

Koja su najupečatljivija iskustva i saradnje u vašoj modnoj karijeri?

Posebno ugodno iskustvo za mene bilo je raditi sa Cavallijem u to vreme. Međutim, jasno je da je u smislu konsultantskog rada, ona sa Vogue Japan možda ona koja me je najviše zainteresovala, jer sam tada postala kreativni direktor Vogue Japan-a 14 godina. To je bilo divno iskustvo sa kulturom veoma različitom od naše, kada spajanje perspektiva nije bilo smatrano mogućim. Tako sam naučila da prihvatim druge kulture dok sam istovremeno stvarala globalni jezik poput Vogue. Jezik koji crpi iz svega, takođe bude apstraktan i uzvišen. A onda, bilo je zabavno saradjivati sa H&M-om, takođe u nesigurnim vremenima – govorim o pre barem 15 godina – jer su imali intuiciju da razmotre saradnju sa urednikom na način koji se nikada pre nije dogodio. Digitalna era je tek počinjala, pa je uloga influensera, u ovoj saradnji bila pomalo proročanska.

Možete li podeliti neke uvide u svoj pristup stilizovanju mode i kako stvarate ikonične izglede?

Stilizovanje je u suštini ono što radim: kreiranje slika. To sam radila čitavog svog života, i to je još jedna divna stvar jer je to timski rad. Od kada sam počela sa Vogue Italija i tokom perioda Condé Nast-a, sarađivala sam sa fotografima poput Helmuta Newtona, Petera Lindbergha, Stevena Meisela, Maria Sorrentia i Maria Testina. Neverovatna imena. I još uvek to radim! Skoro sam radila za Vanity Fair Italija na Jannik Sinner photoshoot-u jer, osim mode, uživam u radu sa poznatim ličnostima. U svakoj situaciji, da biste stvorili ikoničan izgled, ne biste trebalo da nadmašite fotografa svojim ličnim ukusom; trebalo bi da se povučete i potražite konceptualno razumevanje sa fotografom. Za mene, rad sa Helmutom Newtonom bio je ikoničan. On je bio kralj crno-bele fotografije, i sa njim sam mislila u crno-beloj boji. Svetlost je bila kontrastna, a odeća je imala karakter. Moda je postala slika, a fotografije su bile osmišljene da traju zauvek. Kao stilista, pokušala sam da naglasim njegov jezik. Sećam se da sam otišla kod Helmuta Newtona sa ludim izborom štikli veličine 12, crnim čarapama i srebrnim aksesoarima; istraživanje je bilo intenzivno. Tako smo završili u istorijskim knjigama. Isto važi kada radite sa top modelima, kao što sam radila u poslednje vreme za Vanity Fair. I ovde, jezik je bio crno-beli, sa mnogo donjeg rublja, da bi se naglasile figure i vanvremenska lepota. Alati koje imate uvek treba da služe slici, a ne obrnuto.

Ok, nije uvek sve bilo zabava i igra. Koji su to bili najveći izazovi sa kojima ste se suočili u karijeri i kako ste ih prevazišli?

Pa, uvek su postojali izazovni momenti u mom radu jer težim ka njima kada je vreme da podignem lestvicu. Nikada ne sedim i ne mislim da sam postigla sve. Uvek sebe dovodim u pitanje da bih evoluirala. Na primer, kada mi je Franca Sozzani 2000. godine poverila vođenje L’Uomo Vogue, nikada nisam imala posla sa muškom odećom, iako je obožavam jer revolucije uvek počinju od muške mode. Ako obratite pažnju, vidite samo određene suptilnosti na muškim modnim revijama. Govorim o Rafu Simonsu, Hedi Slimaneu i Tomu Fordu u Gucciju. Kada sam bila postavljena, sećam se da sam rekla: “Bože, šta ću raditi sa muškom odećom?”. Ali onda sam pomislila da mogu da razumem modu na svakom jeziku. Zapravo, od 2000. do 2006. godine, te godine su bile ispunjene neverovatnom kreativnom snagom. Kada je Tom Ford predstavio pernate farmerke za Gucci, ljudi su bili šokirani. To je bio metroseksualni koncept koji je takođe inspirisao našu naslovnicu sa Davidom Beckhamom. Pre toga, ova heteroseksualna ali hiper-modna figura nije postojala. Muška moda i sam L’Uomo Vogue bili su prilično tradicionalni. Sa metroseksualcem, počela je veoma interesantna rodna revolucija. A onda su došle nezaboravne naslovnice sa Stivenom Kleinom i svim poznatim ličnostima, od Princa do Davida Bowiea. Stiven Klein je legenda portreta. Još jedan izazovni trenutak bio je kada sam napustila L’Uomo Vogue i otišla u Vogue Japan. Tada je bilo nezamislivo da Italijan radi u Japanu, s obzirom na geografske, jezičke i kulturne razlike. Međutim, tako je počela današnja kontaminacija, gde marka jedne nacionalnosti retko ima dizajnera iste nacionalnosti. I odatle, Pharrell, muzičar za Louis Vuitton. Danas postoji divna uzbuđenost, ali tada je to bio veliki izazov. Nije reč o lošim vremenima; reč je o vremenima kada morate da se promenite. Ove situacije mogu biti zastrašujuće, ali ja se svakog dana plašim, i to me održava u životu.

Kao modna ikona, kakav savet biste dali pojedincima koji žele da razviju svoj jedinstveni stil? Na primer, mladim dizajnerima koji žele da se uspostave kao brend.

Važno je da što više učite. Možda ste izvanredan talenat, ali da biste napredovali, trebate alate, jer karijera u modi ne dolazi u naletima, već kao dug maraton. I nisu to samo tehnički alati, već i široko opšte znanje. Ne biste trebalo samo da učite o krojenju i šivenju, već i o klasicima, umetnosti i književnosti. Jer, u modnom maratonu, morate biti sposobni da pružite odgovore na određene stvari koje vam se dese. Čak i pravljenje haljine uključuje generisanje misli, posmatranja i koncepata. Pogledajte Pierpaola iz Valentina, kako se cela njegova karijera razvila i kako je do poslednjeg dana u brendu, pored snažne zagovorničke mode, u svoje kolekcije uključivao i svoju ličnu kulturu. Ove stvari ne dolaze iz vazduha, nisu improvizovane. To zahteva učenje i obuku. Ima vremena da se uđe u modu. Videla sam mnoge meteorske karijere koje su se završile loše. Danas, mlađe generacije imaju prednost zahvaljujući digitalnoj eri, koja pruža pristup obilnim informacijama. Međutim, prava edukacija i dalje zahteva učenje i razvoj misli. Jeste li genije? Dobro za vas. Međutim, modni svet je preplavljen, i ako niste dobro struktuirisani, nećete preživeti.

Tokom svoje karijere, sigurno ste imali stotine intervjua. Da zaključimo ovaj, da li postoji nešto što biste želeli da kažete, a niko vas nikada nije pitao?

Moda je umetnički jezik, ona je muza koja uvek daje pravi odgovor. I tek kasnije shvatite da vam je rekla ono što ste želeli da čujete, a niste znali da to želite da čujete. Ali moda je takođe izuzetno meritokratska industrija. Trenutno živimo kroz vrlo težak period. Prodavnice ne posluju kao nekad, ali možda ćemo se vratiti na stari put u narednih pet godina. Moda kao jezik nikada neće nestati jer, uprkos trenutnim turbulencijama, odražava život. Odgovore koje tražimo nećemo pronaći na trotoaru ispred pozorišta. Možda ih možemo pronaći u knjigama, muzici, ili posmatrajući životne puteve umetnika. Ono što je sigurno je da se ja osećam savršeno lagodno na ovom svemirskom brodu koji me prevozi do ostrva koje navodno ne postoji… a ipak, na kraju, postoji.

English here:

You’ve been a prominent figure in the fashion industry for decades, and you still are. How do you stay relevant and continue to evolve your style?

There’s no set destination in fashion. You’ve got to keep on moving forward. Fashion is constantly changing, so you always must reinvent yourself.  Fortunately, I’ve had many experiences: as a journalist, as a stylist, as a consultant, and even as an influencer, if we consider today’s digital world. The language of fashion evolves, and its protagonists must evolve accordingly. This also keeps you constantly fresh. It’s an exciting challenge.

How has your background in journalism influenced your perspective on fashion and style?

A lot. Journalists hold a unique position of privilege. You can be impartial, able to observe everything, and tap into all sources. You’re welcomed everywhere, allowing you to observe fashion from a bird’s-eye perspective. This vantage point provides invaluable insights, fostering a critical mindset that transcends biases. It also enables objectivity and clarity in consultancies or other endeavors. Personally, I refrain from simply expressing whether I liked a fashion show or not. It’s not about personal judgment but rather a nuanced critical assessment. In fashion, there’s a constant evolution of creative languages, a dynamic wave fueled by designers, akin to a river in full flow. Being a journalist has always been my dream and my asset, particularly in discerning beyond nice and ugly, talent, or lack thereof. Fashion journalists must grasp what fashion reflects about our ever-changing society.

What role do you think fashion plays in self-expression and confidence?

Indeed, it plays a very important role. Fashion holds a significant place in the realm of self-expression and confidence, serving as a conduit for liberation that has emancipated itself from judgments and prejudices. It stands as a symbol of diversity, embodying an all-encompassing mode of expression that empowers individuals to unveil their truest selves. It can transcend all boundaries of gender, societal roles, and social classes. Fashion brings our subconscious to the surface; therefore, it is the ultimate medium for freedom.

What do you think about sustainability in fashion and how has it influenced your work?

We discussed how the sense of freedom and self-expression has evolved…  and sustainability is indeed a challenge. Everyone is now addressing this issue, arguably the most pressing and serious concern in today’s fashion, both on a small and large scale. Back in 2018, I already felt the desire to give back, to circulate my clothes again. So, I auctioned off my entire collection under the banner of recycling and timelessness. Today, the focus is on re-editing our wardrobes and reusing old clothes. This applies even to new items. For example, in Vanessa Friedman’s interview, Phoebe Philo emphasized that garments should have a sense of permanence, a special consideration, making editing and dropping essential to create timeless value and avoid falling into forced consumption. It’s also about a conceptual value. There needs to be a thought behind the clothes, you know.

Which are the most memorable moments and collaborations in your fashion career?

A particularly enjoyable experience for me was working with Cavalli at the time. However, clearly in terms of consultancy, the one with Vogue Japan is perhaps the one that interested me the most, because then I became the creative director of Vogue Japan for 14 years. It was a beautiful experience with a culture very different from ours, when blending perspectives was not thought possible yet. So, I learned to embrace other cultures while also creating a global language like that of Vogue. A language that draws from everything, also being abstract and lofty. And then, it was fun collaborating with H&M, also in unsuspecting times – I’m talking about at least 15 years ago – because they had the intuition to consider collaborating with an editor in a way that had never occurred before. The digital era was just starting up, so the role of influencers, of which this collaboration was somewhat prophetic.

Can you share some insights into your approach to fashion styling and how you create iconic looks?

Styling is at the core of what I do: building images. I’ve been doing it all my life, and it’s another wonderful thing because it’s a teamwork. Since I started with Vogue Italia and throughout the Condé Nast period, I’ve collaborated with photographers such as Helmut Newton, Peter Lindbergh, Steven Meisel, Mario Sorrenti, and Mario Testino. Incredible names. And I’m still doing it! Lately, I’ve worked for Vanity Fair Italy on Jannik Sinner photoshoot as beyond fashion I also enjoy dealing with celebrities. Whatever the situation, to produce an iconic look, you shouldn’t override the photographer with your personal taste; you should step back and seek a conceptual understanding with the photographer. For me, the work with Helmut Newton was iconic. He was the king of black and white, and with him, I thought in black and white. The light was contrasting, and the clothes had character. Fashion became an image, and the photos were conceived to remain forever. As a stylist, I tried to emphasize his language. I remember I went to Helmut Newton with a crazy choice of size-12 heels, black stockings, and silver accessories; the research was intense. That’s how we ended up in the history books. The same goes when you work with top models, as I’ve been doing lately for Vanity Fair. Here too, the language was that of black and white, with a lot of lingerie, to enhance bodies and timeless beauty. The tools you have should always serve the image, not the other way around.

Ok, it won’t have always been fun and games. What are some of the biggest challenges you’ve faced in your career, and how have you overcome them?

Well, there have always been challenging moments in my work because I tend to seek them out when it’s time to raise the bar. I never sit back; I’ve never thought I’ve made it. I always question myself to evolve. For example, when Franca Sozzani entrusted me with the direction of L’Uomo Vogue in 2000, I had never dealt with menswear, although I adore it because revolutions always start from menswear. Notice, you only see certain subtleties in men’s fashion shows. I’m talking about Raf Simons, Hedi Slimane, and Tom Ford at Gucci. When I was appointed, I remember I said, “My goodness, what am I going to do with menswear?”. But then I thought that I can understand fashion in every language. In fact, from 2000 to 2006, those years were filled with incredible creative power. When Tom Ford introduced feathered jeans for Gucci, people were shocked. It was the metrosexual idea that also inspired our cover with David Beckham. Before that, this heterosexual but hyper-fashionable figure didn’t exist. Menswear and L’Uomo Vogue itself were quite traditional. With the metrosexual, a very interesting gender revolution began. And then came the memorable covers with Steven Klein and all the celebrities, from Prince to David Bowie. Steven Klein is a portrait legend. Another challenging moment was when I left L’Uomo Vogue and flew to Vogue Japan. At the time, it was unthinkable for an Italian to work in Japan, given the geographical, linguistic, and cultural differences. However, that’s how today’s contamination began, where a brand of one nationality hardly ever has a designer of the same nationality. And from there, Pharrell, a musician for Louis Vuitton. Today there’s a beautiful fervor, but back then, it was a big challenge. It’s not about bad times; it’s about times when you must change. These situations might be scary, but I get scared every day, and that keeps me alive.

As a fashion icon, what advice would you give to individuals looking to develop their own unique sense of style? For example, young designers who want to establish themselves as a brand.

It’s important to study as much as you can. You might be a stunning talent, but to progress, you need the tools, because a career in fashion doesn’t happen in bursts but rather like a long marathon. And it’s not just technical tools but also a broad general knowledge. You shouldn’t only study cutting and sewing but also classics, art, and literature. Because, in the fashion marathon, you need to be able to provide answers to certain things that come your way. Even making a dress involves generating thoughts, observations, and concepts. Look at designers like Pierpaolo Piccioli; in the collections he has created for Valentino, he has always infused his personal culture and done a fantastic job until the last day. These things don’t come out of thin air, they’re not improvised. It requires study and training. There’s time to get into fashion. I’ve seen many meteoric careers start and then end badly. Today, younger generations have an edge thanks to the digital era, offering access to abundant information. However, real education still requires study and the development of thought. Are you a genius? Good for you. However, the fashion world is overwhelming, and if you’re not well-structured, you won’t survive.

Throughout your career, you must have received hundreds of interviews. To conclude this one, is there something you would have liked to say but no one has ever asked you?

Fashion is an artistic language, it’s a muse that always gives you the right answer. And only later do you realize that it told you what you wanted to hear but didn’t know you wanted to hear. But it’s also an extremely meritocratic industry. Now, the moment we’re living through is very difficult. Stores aren’t performing as they used to, but we might get there in the next five years. Fashion as a language will never end because, despite the turbulence of the moment, it reflects life. The answers we’re looking for aren’t found on the sidewalk leaving the theater. Maybe we can find them in readings, in music, or looking at the life paths of artists. What is certain is that I find myself perfectly at ease on this spaceship that transports me to the island that supposedly doesn’t exist… yet in the end, it does.

Interviewed by Danilo Venturi

Talent – Anna Dello Russo
Photographer & Style – Victor Danilov
Hair – Satoshi Klein
Makeup – Lena Yasenkova
Location – Le Royal Monceau Raffels Paris
Styling assistant – Sofia Brini, Uliana Sgura, Valeria Pastore
Makeup assistant – Polina Matushkina