I am one who is very meridione - Southern Italian. I am proud of this. I design everything with my team, which is fantastic and small. I design by look. For example, people always comment to me, "When you do men's shirts, you always keep them closed on the catwalk." That's my thing.
For me, aesthetically, Donatella Versace represent what the Italian woman is. There is always the American rock thing, the aristocratic, above-the-rest British manner, but Italy is at the heart of it.
I am super-Italian, not even European - Italian. And this is very precise. It's like houses. Over time they stabilize themselves in the terrain. I am still at the first step of a long staircase.
We are Italian. We are all little tribes - not only in fashion, but also in music - in everything, basically.
The Russian economy is about the size of the Italian economy; it's very small, and Russia's military force is larger than it was, because Putin's been investing in it, but it still doesn't compare to that of the United States, and his reach and aim still don't compare.
Being a teenage model was lot of fun, like playing dress-up. I'd feel ugly and awkward and chubby, and they'd transform me. Not that that makes everything better. Then my mom shopped the pictures around, I guess, and the agencies started calling. I wound up going with a little agency, Spectrum. It all happened really quickly, I started modeling for magazines like YM and Seventeen, and I did a couple of bigger things like Italian Vogue.
Writing in French is one of my ambitions. I'd like to be able to dream one day in French. Italian and French are the two languages that I'd like to know.
Poetry is always in transformation. There are certain aspects of contemporary Italian poetry that are very preoccupied with politics and deconstruction and they don't deeply interest me. But that's the case in most cultures. We have our own Language Poetry, which doesn't interest me either.
Italian is a very different poetic situation and there are these hard and fast rhythmic periods, settenari, ottonari of seven and eight syllables. These are fundamental to the way people speak and write and breaking them is more radical in Italian than when we break a line. I'm sure there are Italian poets who want to write poetry as prose and break these Petrarchan rules. And breaking them is fun and a valid thing to do. But I'm more interested in trying to write poetry that absorbs tradition and uses it in new ways, and doesn't throw it out.
Anything, even the conceptually most complex material, can be written for general audiences without any dumbing down. Of course you have to explain things carefully. This goes back to Galileo, who wrote his great books as dialogues in Italian, not as treatises in Latin. And to Darwin, who wrote The Origin of Species for general readers. I think a lot of people pick up Darwin's book and assume it must be a popular version of some technical monograph, but there is no technical monograph. That's what he wrote. So what I'm doing is part of a great humanistic tradition.
I always say that you know when an Italian plane has landed at an airport because the men look uber-stylish, theyve got scarves on and suits.
The elegance of the Italian South is a very strong elegance and it is one that I bring. It is a sexy elegance - or at least, let's say less chaste.
I thought Italian Vogue had always been considered the most experimental, avant-garde magazine. If I was going to use the same kind of language and the same kind of photos or images on the web site, it would be a disaster because Vogue has its own world, and it could be a little bit cold, you know? We don't give what you call a service.
My first film - a challenging role and completely different from the persona that was created in Italy. I was this super energetic, vibrant, happy, volumed hair, fitted dresses, the whole Italian va-va-voom thing. And the role was a girl that was really provoking society with being unnecessarily violent - just trying to see what people's limits are. It's a really dark tunnel to get to being nasty, being full of hate. When people hate there's a big sadness and rage within them, so it was interesting to go that dark with my first experience.
[Dario Argento] speaks very broken English - he's Italian, so I'm going to do a very bad Italian impersonation - but he asked me my name, and I told him, and he goes, "Walk across the room." He looked at me, and he said, "Do you want to be in my movie [Two Evil Eyes]?" I was, like, "Yeah! Yeah, I do!"He goes, "Okay! You play Betty!" And I was, like, "Oh, I'm playing an extra named Betty! Great!" So we walked out, thinking that I was playing an extra named Betty, no lines, just background.
Working with Dario [Argento] was a lot of fun. He's a larger-than-life character, and with an Italian accent.
[Dario Argento] would yell at you in Italian, and I'd have no idea what he was saying. I'd just go, "Okay!". But it was a really great experience [filming Two Evil Eyes ].
If you go back a century in Europe, all over the place people were speaking different languages. There were dozens of languages in France and Italy, and they're all called French [and Italian], but they were not mutually comprehensible. They were different languages. And they have mostly disappeared in the last century or so. Some are being preserved, like Welsh, some are being revived, like Basque or Catelan to some extent. There are plenty of people in Europe who can't talk to their grandmother because they talk a different language.
The Pope doesn't get mixed up in Italian politics.
Modernism was a big thing for me, coming from a father who was very interested in art, music and culture - and almost always Italian art, music and culture. One good thing about Italians is that culture is part of everyday life. But Modernism is a movement of the past. The idea of a Modernist building as a sculpture set on a pedestal of grass is a part of Modernism that I'm not so crazy about.
In Iran, the women are like Italian women, they rule the house inside. But it's full of life. The history is very rich. The mystic of the Middle Ages. We have to learn from them. They influence all the philosophers when they came to Europe all those many many years ago.
Pedro Almodóvar asked me to watch italian films again as homework to look at the energy of all those women from the Italian neo-realist films. A lot of them had those characters that represented motherhood. For some reason, in the '50s in Italy, the mother figure was very important - and my character needed to have that energy.
My first really big job was an advertorial for Italian Vogue. I cried on set because I didn't know what to do. That was two weeks after being in Milan for the very first time. I think I had one or two test shoots there.
I knew I liked art. I knew I liked photography. I remember seeing photos of Linda Evangelista in Italian Vogue as a teenager, and at the time I didn't know who she was. There were two photos - one shot by Fabrizio Ferri and another one by Steven Meisel. I didn't know who any of those people were. I think it was the first summer I was modeling, I saw these magazines sitting out and looked at them. I remember thinking, These are the kind of images I want to make.
I have to admit, I am aware of my Latin roots now. In the past, people couldn't place me. They thought that I was Danish or English or French. They never got that I am Italian. I'm not typical, maybe because my visual education was very mixed. There was a lot of London in my aesthetic: The Face, i-D, British music, and a lot of British fashion . . . But I really enjoy this contrast. I can go from Lady Gaga to Brian Eno in a split second.
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