Individuals take on positions as producers and consumers, authors and readers, performers and audiences. Each of us is able to move through different roles with increasing fluidity, creating and updating our identities as we go.
1. List the 10 uncommon and embarrassing moments of your life.
1) when I really knew and understood who is my father…2) when I understood that I’m an uncommon woman 3) When I understood that being a woman it isn’t so good… 4) when I understood that living in Italy for a creative mind it’s really difficult and depressing 5) When I understood that for working in Fashion Business I’d have had an important Name… 6) when I understood that a day has just got 24 hours… 7) when I understood that I suffer of verbal diarrhea 8) when I understood that we are still living in a male-dominated world 9) when I understood that animals are much more better than human beings 10) when I understood that you can buy almost everything with money…
2. What do you think about influencing the fashion and trend system?
Defining trends nowadays is not an easy task. Trends are in essence very complex mechanisms that mirror changes in the economic and political landscapes. Fashion itself is a reflection of social, economic, political and cultural changes. It expresses modernity, symbolising the spirit of the times. In the last thirty years the luxury industry has been completely focused on profitability, and quality has become a secondary objective for the luxury tycoons. The focus has shifted from what the product is to what the product represents. In this context it’s essential to mention that ‘the trend’ is not what it used to be. Many savvy consumers now follow their own fashion rules, inspired by what they see on the fashion-animated streets, the internet, and in the live-streamed fashion shows that are becoming a staple channel for fashion lovers. Trends are still analysed and followed by many consumers and manufacturers, who use them as a way of establishing an order in the chaotic world of fashion. Trend forecasting companies use advanced technologies and professional experts to predict what will sell in the future, and fast fashion brands are using the huge number of trends in demand at any one moment to make and sell more clothes. In this chaotic landscape, there is an obvious need for identity and innovation, to shift the focus to where it should be – on quality and individuality. And where better to find uniqueness and innovation than in the fresh and free voices of young emerging designers? Through their innovative designs, emerging designers create the feeling that you buy a piece with meaning and personality, rather than a garment produced in a third world country which gained value only when a logo was splashed on it.
3. What’s your opinion about common people?
“I want to live like common people, I want to do whatever common people do, I want to sleep with common people, I want to sleep with common people, Like you.” (Common People-Pulp)
4. Do you believe in a democratic sense of ART (such as MUSIC, DESIGN, LITERATURE, FASHION, Etc,)?
In our own time we need to look again at what we mean by culture. For practical purposes there are three, deeply interrelated, spheres of culture: publicly funded culture, commercial culture and home-made culture. What counts as culture is decided by different groups in each of these cases, but the existence of a critical discourse, with arbitration of standards and quality, is a significant feature in all of them. In publicly funded culture, culture is not defined through theory, but by practice: what gets funded becomes culture. This pragmatic approach has proved useful in allowing the Arts Council to expand its definition of art over the last 50 years to include things like circus, puppetry and street art as well as opera and ballet, while still controlling what ‘culture’, in this sense, means. Commercial culture is equally pragmatically defined: if someone thinks there is a chance that a song or a show will sell, it gets produced; but the consumer is the ultimate arbiter of commercial culture. Success or failure is market driven, but access to the market is controlled by a commercial mandarin class just as powerful as the bureaucrats of publicly funded culture. So in publicly funded culture and commercial culture there are gatekeepers who define the meaning of culture through their decisions. Finally there is home-made culture, which extends from the historic objects and activities of folk art, through to the post-modern punk garage band and the YouTube upload. Here, the definition of what counts as culture is much broader; it is defined by an informal self-selecting peer group, and the barriers to entry are much lower. Knitting a sweater, inventing a new recipe, or writing a song…the decision about the quality of what is produced then lies in the hands of those who see, hear or taste the finished article. In all three of these spheres individuals take on positions as producers and consumers, authors and readers, performers and audiences. Each of us is able to move through different roles with increasing fluidity, creating and updating our identities as we go. Artists travel freely between the funded, commercial and home-made sectors: publicly funded orchestras make commercial recordings that get sold in record shops and uploaded onto websites; street fashion inspires commercial fashion; an indie band may get a record deal and then play at the Royal Festival Hall… The internet is credited with driving mass creativity, but in reality it is only one of the factors that explains it. This upsurge in creative activity should not lead us to conclude that we have already achieved a ‘democratic culture’ where everyone can enjoy culture equally. There are stark differences between individual capacities to make informed choices, and there are still parts of the cultural world where the vast majority of people feel alienated.
5. What do you expect from COMMONUNCOMMON Magazine in the future?
I expect the Truth through artistic minds.