Swide Magazine by Dolce&Gabbana

It happens during the backstage, Luca Bianchini, journalist of Vanity Fair, falls for the life that goes on at Metropol and writes an article (here included) inspired by the pictures of Swide's photo gallery.

"Nel Backstage di Dolce&Gabbana" by Luca Bianchini.

 

I think the “backstage” is one of the greatest inventions of the eighties. Before that, you had the boring “behind the scenes” no one cared about. After which, the star system was born followed by all the obsessive attentions for the stars – remember when you had “only Evian in the changing rooms”, and the “backstage” had become fundamental. To have your pass for the backstage is now more important than sitting front row, this to show how bad it has gotten. I love the backstage because I am curious by nature and I like what goes on around an artist, mainly always the same things: the line in front of the changing room, a few trusted people who come and go very quickly – and they are never too friendly – the sad look on the faces of the technicians who walk by the hall. Here and there instant coffee makers, Kinder brioss and apples no one eats. If you ever wonder what goes on inside, just know that the most interesting thing is to see the artist in real life because he or she is usually shorter, older, or not very nice, especially if you have idealized him.

Saturday, for the first time, I went backstage during a fashion show. It was definitely more fun than watching the show. The Dolce&Gabbana show was at 2pm, or just around that time (there is always an half an hour delay for each show). I arrived at 1pm, got my pass, and walked down thinking I was entering a garage. Not quite, but rather I entered a whole new world. It looked like an airport on a day where all the flights have been cancelled. I was feeling a bit lost by all of the confusion as a girl named Valentina approached me to check if I had any reason to be there (when they ask you feel almost happy they’ve checked you). As soon as she read my name things got easier (the Bianchini power!!!). Just enough time to get acquainted and I saw Stefano Gabbana who greeted me with a smile. The only thing I could think of was: why am I still wearing this stupid wool hat? Thank god he had other things to take care of while it downed on me that I wasn’t at Fiumicino airport.

A gigantic room with a clear parquet, divided by long racks of clothes. Well organized with descriptive sheets of paper, the looks of the 69 models: each sheet of paper indicating the name of the hottie - Felix, Jacob, Laurant – the clothes they were going to be wearing and how to wear them (Ex: Alex, white button down shirt, buttoned waistcoat, the buttons of the jacket opened on the wrists, just the first button closed).
To help the dressers who were following the models (at times four to one hottie), there were pictures of the “look” – sorry for using this “old school” word – they had already worn during the rehearsal. There is not much time during the show so it is better if everything is very accurate. You could recognize the models because they were wearing black flip-flops and had their i-pod earphones. Young, tall, toned, serious looking, apart from the Americans who were laughing out loud. Some of them looked bored, some were reading, and some sleeping! My favourites were obviously the ones who fell asleep on a book. Taking turns they went through make-up and hair with 12 hair stylists and 20 make-up artists there to help them and… a manicure! (If a hottie has a black toe-nail and Anna Wintour notices it could lead to a disastrous review).

I had a small conversation with the friendly Elbio Bonsaglio, he is half Italian, half Argentinean: “The advantages of this job? Travelling and making good money. A model makes about 1500 or 2500 euros per show… this week, if everything goes according to plan, I would do six. Obviously these numbers are for a certain type of model. It can’t be compared to women: it’s the only business in which women make more than men! It’s a job that puts you through an exam each time, there are castings and they have to like you: you have to try to be relaxed and not be obsessed by having the perfect body.” My impression is that models do this job as others would work at a pizza shop on a Saturday: to make ends meet of pay for their studies.

Amidst the crowd I said hi to Domenico Dolce, who was surprisingly calm: “Keeping calm is fundamental in those moments. If you are calm, people who work with you will stay calm and so will the models. During the show it’s absolute calm. Not a fly.” A few minutes later someone shouted “Get to your assigned places!!!” It was like the pit stop of Formula 1, in one second they were all at the starting line, the dressers ready with shirts unbuttoned, jeans and shoe fitters! The hotties, once dressed, stood in line quietly as if they were waiting for communion. Finally I got to see what I was waiting for, the only thing I had previously imagined. The designer, who before the show, checks your tie, your collar, your jacket. Dolce did just that. With a brush in hand, changing their hair following his mood. After him, Gabbana also gave his approval, but I didn’t get to see.

When the show started, it was like running after time, models literally running (you can see here a great photo gallery).*
“At the end, a final toast with models, dressers, the press office, make-up artists, manicure, hair dressers, the two designers. And Brian Ferry. Champagne.”

 

Translated from Italian.
* link to Swide's gallery you can see above.

To read Swide's backstage article click here.

 

Photo Credits: Dolce&Gabbana

TAGS: dolce&gabbana dolce & gabbana d&g d & g backstage fashion week luca bianchini vanity fair photo gallery photos backstage luxury online magazine models model top model metropol menswear fall winter 2012 fw12 fall winter 2011-2012 milan fashion week