The April 2022 issue of Vogue Italia navigates artfully the question of the man-machine-nature relationship. This theme is also investigated at the upcoming Venice Biennale, which opens on April 23 with the title ‘Il Latte Dei Sogni’.

The truly spectacular fashion story must have been quietly overseen by the now divine muse to fashion artistry, former editor-in-chief of Vogue Italia Franca Sozzani herself [who sadly left our planet on December 26, 2016].

An unusually quiet peace ebbs tonight throughout the digital fashion world, based on my quick trip through several forums. The naysayers have been silenced for good. Talent reigns . . . they had no idea . . . these guys . . . were THIS GOOD . . . THIS EXTRAORDINARY.

Welcome aboard, people. It’s about time you saw the light. “Yes, yes, Franca. I’ll stop now. Lips zipped.”

Star model Vittoria Ceretti is the muse, and she reflects on her relationship with nature and the photoshoot itself. Ceretti transforms herself as a sort of ‘Eva Futura’, a symbolist science fiction novel by the French author Auguste Villiers de l'Isle-Adam, published in 1886.

The metallic body of Vittoria on the cover thus becomes an experiment that can be physical, philosophical and physiological, and acts as a creative platform from which to start to produce new narratives, new forms and cross-pollinations. Vogue Italia digs so deeply into the philosophical construct of the fashion story that it warrants a separate post.

It was the first time Ceretti worked with photographer Rafael Pavarotti [IG] and top stylist and EIC of Dazed Ibrahim Kamara. Yes, the same duo featured earlier today in H&M’s newest Innovation Story ‘Cherish Waste’.

Speaking of Pavarotti, Vittoria’s frames of reference run deep with Steven Meisel and Luigi and Iango.

“It was a very creative shoot, from many points of view — more than usual — both on Rafael's part and on my part,” says the model. “We really enjoyed creating the images when I was already dressed on set. To invent circumstances around us to create these very creative images.”

Of course Rafael Pavarotti is an old soul, as is Ib Kamara. Young spirits don’t have their kind of ancestral visions and almost innate understanding of ancient practices. So it makes sense that Franca felt totally welcome to drop in.

Ceretti observed a difference, too. “It was the first time I had the opportunity to work with Rafael Pavarotti. He brings with him a sense of great calm and steadfastness. Of tranquility, and not the usual chaos that we often find ourselves experiencing on the set or at fashion shows.”

Letter from Rafael

Photographer Rafael Pavarotti wrote a Vogue Letter around the birth of the New Year. He writes again in this moment . . . when so much seems to be coming undone and — presumably right before the desire of Putin to abolish Ukraine and its people from Planet Earth took hold.

Pavarotti’s letter is long, and he concludes:

Artistic representation as an extension of the human being finally confronted us with the categorical imperative: the time has come for empathy, fraternity and compassion to reign. We know nothing about tomorrow, all we have is today. A present that we can live in the sign of unconditional love for all forms of life, for organic and inorganic beings, for existence itself. The time has come to take on our responsibilities and understand the interconnectivity of the whole. Love today, breathe now. What steps can we take now to lead a more ethical and empathic existence?