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Vogue Italia May 2020 by Karim Sadli, Alasdair McLellan, Ryan McGinley & Harley Weir
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can he stay behind camera please and support black models or someting
mikel
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Why can’t an artist be part of their own work?
Zorka
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Benn98
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Because it's a fashion editorial and they are stylists/photographers, not models. The system created models and celebrities specifically for the latter role. I don't care if they do that sort of thing on their own platforms or for photobooks, but it's just a bit too self-aggrandizing for my taste. M Le Monde's series where they've asked male and female photographers for self-portraits is entirely different from what we are seeing here, for instance. And that I can tolerate because the story is not about the latest fashion but gives the reader a glimpse of their personalities.
This is the scourge of social media where ego dictates everything and everyone wants to be in front of the camera. It's tacky.
Zorka
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Editor's Letter:
(English Text)
A conversation
What happens if a women’s magazine and a men’s magazine enter into a dialogue with each other, pooling their ideas, contributors, formats and opportunities? This was the plan: to try and think undogmatically about the extent to which the gender factor is relevant today for our society, of which fashion is an effective reflection and sometimes ahead of the times.
Will the polarities – in the way we dress, write and photograph – still make sense in the world that awaits us? And will it still be possible for fashion’s production cycles to be anchored in the seasonal rhythm of men’s and women’s shows?
With these questions in mind, Vogue Italia and L’Uomo Vogue, which are on newsstands together this month, have become the place of a publishing experiment, along with their respective social media profiles. They are welcoming a free and easy (as far as possible) creative exchange, providing an open space into which writers, artists, journalists, photographers and designers have poured their voices. We have delved into the archives and memory, and examined technology to search for new possible forms of social relations to come.
Four stories, four photographers, eight covers. In this game of mirrors straddling the pages of the two magazines, identities become fluid, and the changing clothes show that the essence of things doesn’t change. In one of these works, we simply see the same girl twice. In the others we find two couples, symmetrical and asymmetrical. Then there’s a portrait and a self-portrait. Two of two of two of two, revealing different, infinite possibilities.
Giorgio Armani, who with his ideas of style has given strength to women and liberated men from age-old rigidities, talks about himself in a two-part interview. In the short stories by Richard Mason and Jessica Fellowes, we playfully discover how the same story can sound different if told by him or her. Lila Azam Zanganeh delicately tackles a complex issue: what is still and what is no longer acceptable in the dialogue between the sexes, in the rules of seduction?
When this project began a few months ago, the world was obviously a very different place. But as we patiently and respectfully set off towards a slow recovery, it is crucial that we do not brush aside certain topics that are of paramount importance – such as the fight to remove all obstacles hindering gender equality, and the commitment to constantly support the choices of identity made by each and every one of us, which by definition must be free, personal and incontestable. Let’s get back to talking about these things. They are vital elements to make sure that the new age that awaits us will be able to learn from the mistakes of the past.
Vogue Italia Digital Edition; vogue.it
(English Text)
A conversation
What happens if a women’s magazine and a men’s magazine enter into a dialogue with each other, pooling their ideas, contributors, formats and opportunities? This was the plan: to try and think undogmatically about the extent to which the gender factor is relevant today for our society, of which fashion is an effective reflection and sometimes ahead of the times.
Will the polarities – in the way we dress, write and photograph – still make sense in the world that awaits us? And will it still be possible for fashion’s production cycles to be anchored in the seasonal rhythm of men’s and women’s shows?
With these questions in mind, Vogue Italia and L’Uomo Vogue, which are on newsstands together this month, have become the place of a publishing experiment, along with their respective social media profiles. They are welcoming a free and easy (as far as possible) creative exchange, providing an open space into which writers, artists, journalists, photographers and designers have poured their voices. We have delved into the archives and memory, and examined technology to search for new possible forms of social relations to come.
Four stories, four photographers, eight covers. In this game of mirrors straddling the pages of the two magazines, identities become fluid, and the changing clothes show that the essence of things doesn’t change. In one of these works, we simply see the same girl twice. In the others we find two couples, symmetrical and asymmetrical. Then there’s a portrait and a self-portrait. Two of two of two of two, revealing different, infinite possibilities.
Giorgio Armani, who with his ideas of style has given strength to women and liberated men from age-old rigidities, talks about himself in a two-part interview. In the short stories by Richard Mason and Jessica Fellowes, we playfully discover how the same story can sound different if told by him or her. Lila Azam Zanganeh delicately tackles a complex issue: what is still and what is no longer acceptable in the dialogue between the sexes, in the rules of seduction?
When this project began a few months ago, the world was obviously a very different place. But as we patiently and respectfully set off towards a slow recovery, it is crucial that we do not brush aside certain topics that are of paramount importance – such as the fight to remove all obstacles hindering gender equality, and the commitment to constantly support the choices of identity made by each and every one of us, which by definition must be free, personal and incontestable. Let’s get back to talking about these things. They are vital elements to make sure that the new age that awaits us will be able to learn from the mistakes of the past.
Vogue Italia Digital Edition; vogue.it
tigerrouge
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This magazine is like a person with amnesia who spends most of their time trying to reconstruct an authentic identity, but has the occasional flashback to how they used to be.
sapphirenick
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Apologies if I am being slow here but does L’uomo come packaged with Vogue Italia? Or are they two separate purchases?
About a week ago I saw the Anja cover for L’Uomo for sale on eBay on its own but now I am thinking that they come all in one package? Can anyone confirm? Thanks a lot!!
About a week ago I saw the Anja cover for L’Uomo for sale on eBay on its own but now I am thinking that they come all in one package? Can anyone confirm? Thanks a lot!!
Zorka
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In the digital edition (I've got), which has 362 pages, those two things are jointed together: Vogue Italia is from page 1 to page 158 and L'Uomo is from page 159 to page 362.
sapphirenick
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Amazing, thank you! Am hoping the printed ones will be packaged together!
Starry
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I think for the exported copies (outside of Italy at least) L'uomo Vogue always come wrapped with Vogue Italia as a free supplement since the relaunch of the title. On the cover of those "free" L'uomo Vogue issues, the price is crossed with an "x" to suggest it's for free. And the entire magazine is in English, I guess targeting the international market. This is the same case with Vogue Accessory as well. They come in different months. But I think in Italy, both L'uomo Vogue and Vogue Accessory are individual magazines to be sold in newsstand.
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