Vogue Italia July 2024: the editorial
Who knows what face the first man on Earth had? For sure, the one of the first one (alone) on the cover of Vogue Italia It is by Benito Antonio Martínez Ocasio, aka Bad Bunny, born in 94 from Puerto Rico. Why him? First of all because no one among Latino artists has managed to achieve so many musical records in such a short time. Then for his talent, his approach to life and everything he told Filippo Ferrari in the interview on page 96.
Read here: Bad Bunny is the first man (alone) on the cover of Vogue Italia: «I think little about tomorrow and I always repeat to myself: you can’t please everyone»
The “Bad Rabbit” is someone who lives in the moment without wanting to please everyone: «I know I’m not perfect, and I just want to know it. I like it as I do: sometimes good, sometimes bad“, he sings in Nadie knows. Coherent. For a boy who comes from the streets and who, before becoming one of the most influential musicians on the planet, he worked in a supermarket, following your instincts and always deciding who you want to be is a must. And he also demonstrates it with style – a style which, incidentally, surpasses any definition of genre. «I wear what I want“, he claims. And to understand that he’s not joking, go and look at his outfits, from the first videos to the latest Met Gala, where he showed off a pair of fabulous Tabis in Bambi mode.
First, however, enjoy our service, taken at Chateau Marmont Los Angeles by another Latin talent, the Brazilian Raf Pavarotti. That he wanted Bad Bunny in a blonde version, like the kids on the street in Rio de Janeiro… «Latin style, modern!» says the photographer. A real gem to copy for summer grooming. On the other hand, the relationship of Vogue Italia has a long history with men and has resulted in a special magazine, L’Uomo Vogue: it reminds us of it Gianluca Cantaro narrating its history through the people who have contributed to making it, in almost 60 years, the first magazine capable of shuffling the cards of men’s fashion too tied to the classic, as well as a compass of experimentation and culture, an absolute reference for the Italian and international artistic scene (it was the favourite of Andy Warhol!).
In 1987, for example, he dedicated a report on Oliviero Toscani to young Milanese gallery owners. And today, almost 40 years later, thanks to an idea by Silvia Macchettowe played with reproducing that photo with the protagonists of the present, to demonstrate how art is constantly evolving: the eyes of those who look at it and those who make it change, but the ferment never stops, in a vital and creative of generations and points of view, much more feminine than then.
