FALL ADS, ITALIAN STYLE
Byline: Luisa Zargani
MILAN — Expect the unexpected for Italy’s fall 2001 ad campaigns.
Dolce & Gabbana left the studio behind as Steven Meisel brought models Gisele Bundchen and Matt Duffie out to the rocky California desert. In sharp contrast with previous real-life related campaigns, Prada this time oozes romanticism, with photographer Martina Hoogland Ivanow.
And Valentino abandoned its glamorous settings and lifestyle campaigns for a more product-oriented one: shot in color by Meisel in a studio, the focus is on the details of black and white clothes and accessories, worn by Carolina Ribeiro, Karolina Kurkova and Axel Herman — all styled in Valentino’s sophisticated mode. Moschino returned to black and white and opted for models posing alone — a far cry from the more flamboyant explosion of colors and combination of models from the recent past. Moschino was shot by Patrick Demarchelier.
In general, designers chose to focus on product rather than lifestyle, in particular on accessories, and most opted for color, with the exception of Giorgio Armani Borgonuovo, Krizia, Moschino and Alberta Ferretti.
Gucci turned out a product-oriented campaign. Shot by Terry Richardson in a hotel room in L.A., “the atmosphere is very candid, unposed and immediate with an emphasis on the models rather than the environment+.The situation suggests the ending of an all-night party,” said creative director Tom Ford. True to Ford’s style, the photos, of course, are sexy. “[Richardson’s] style has a certain immediacy which is key to the spirit of the campaign. When the photos are laid out in sequence, the result is very pop-Warhol-esque,” said Ford.
Gucci’s strategy this season is to run multiple page units in the core fashion titles during the key fashion months. The company has planned to advertise in new publications such as Another Magazine and Wallpaper’s Palma Project in Europe, Leon in Japan and Friends in China.
Armani recreated a movie set in Los Angeles for his Borgonuovo campaign. Shot by Peter Lindbergh, models Natalia Semanova and Jon Passavant are viewed from both sides of the camera. “This behind-the-scenes campaign has a strong connection with Armani’s past and the movies that have been an inspiration to him, with a modern touch,” said communications chief Robert Triefus. The campaign is mostly in black and white, with a few shots in color. Collezioni, also shot by Lindbergh, is aimed at a different customer: all in color, the campaign continues to show career-minded people at work, with a social life and in real-life situations.
Emporio Armani depicts a young group out for an evening. The photos were shot in color by Roxanne Lowitt in a New York club.
“In November, our Malpensa airport billboard will focus on our accessories,” Triefus said, adding that Armani’s budget is up 5 to 10 percent this season, and in particular, a higher percentage is dedicated to outdoor media such as bus shelters and telephone kiosks, especially for the Emporio Armani, Jeans and A/X lines. “We have two new murals in New York. We believe in owning our signature billboards,” said Triefus.
For Emporio, the company has agreed to do an exclusive with Elle in five countries, a 24-page outsert in the October issues. “We have moved away from more marginal magazines and focused on fashion and lifestyle magazines and multipage units: four pages and up, in significant months, skipping July and December, for example, located among the two or three first fashion advertisers in the books,” said Triefus. Triefus said Armani will be more present in the months of August, September, October and November.
Fendi opted for real-life situations as well. To create a non-fashion look, the company tapped Philip Lorca di Corcia to portray the personality of a film director, Peter Chelkoski, and models Marina Diaz and Carmen Kreutzer as modern, strong women. The photos were shot in color in New York.
While Meisel focused on the essence of the clothes and the accessories for Valentino, he turned up the glamour factor for Versace and put the spotlight on an opulent lifestyle. “The emphasis is on the total look of a glamorous woman who likes to take care of herself from head-to-toe,” said Donatella Versace. Models pose perfectly groomed, manicured, and bejeweled against the background of ritzy mansions in Los Angeles. One of the settings is Hugh Hefner’s Playboy mansion. The products and accessories stand out vividly.
Trussardi, Gianfranco Ferre, Salvatore Ferragamo, Romeo Gigli and Krizia chose the City of Light for their campaigns. Peter Lindbergh shot model Amy Wesson at the Cite des Sciences for Ferre, with contrasting black and white and color photos together on a double page. Mario Testino opted for a Parisian 19th century apartment for Ferragamo, shooting models Mayana, Marcelle and Jacquetta Wheeler on white lacquered antique chairs and armchairs. The streets of Paris are the backdrop for Romeo Gigli and Trussardi, shot by Ilvio Gallo and Steve Hiett, respectively. Romeo Gigli said it will focus on niche magazines such as Interview, Flaunt and Surface.
To create a uniform image for Krizia and Krizia Top, Jean Baptiste Mondino shot the same model, Fanny Bonstrom, in a Parisian studio in black and white.
Mert Alas and Marcus Piggot shot Missoni, recreating a film-noir atmosphere, with Angela Lindvall.
Paolo Roversi photographed Alberta Ferretti’s campaign in black and white, featuring model Anna Erikh. The company said it will increase advertising spending by 15 percent outside Italy.