Tag: Cover

Together for 80 years: Marisa and Marco on the cover of Vanity Fair – Italian Cuisine

Marisa and Marco on the cover of Vanity Fair: 101 and 102 years together for 80. For Valentine's Day, the weekly arrives on newsstands with a special issue that celebrates the generation that symbolizes love that wins everything

After the success of the number starring Pope Francis, which scored + 38% on newsstands compared to the same number of the previous year, and the digital campaign #iomivaccino, with over 4.6 MIO impressions, 4.4 MIO total reach, 59.3k video views , 92k total engagement and numerous well-known faces involved, Vanity Fair comes out on newsstands with a special issue dedicated to love.

"Like every year, on the anniversary of the feast of lovers, in the editorial office we asked ourselves how to tell love in the time of Covid-19", writes the director Simone Marchetti in his editorial. "This year there is also a special anniversary: ​​twenty years ago, the last kiss, the film by Gabriele Muccino that fascinated an entire country, arrived on the screens of cinemas. We therefore thought of imagining the first kiss we will give each other once the virus has left us. And here is the genesis of this cover: to celebrate the affection, strength, tenderness of a generation that has seen it all. The war, the pain, the fear. The reconstruction of Italy, the sweat of conquests, the tears of defeat. All to then finally face the most cowardly enemy: a virus that does not even have the courage to be seen ”.

So the kiss of becomes the protagonist of the cover Marisa Stradella (101 years) is Marco Razzini (102) who have loved each other for 80 years. Their bond, born in a Milan at war, was not lost even when Marco, a prisoner in Russia, was unable to give news of himself for more than three years during which Marisa never lost hope that they would see each other again. . They have never separated since his return. And now, after three children, six grandchildren and three great-grandchildren, their love story continues. The tale of this generation continues with Stefano Bozzino, the Alpine who had traveled around the world playing the accordion under the window of the hospital where his wife was hospitalized. For the first time he tells of the recent death of his beloved and of the love that never ends.

The image of their kiss symbolizes a life manual that tells what love is. A love capable of winning everything and which also returns within the pages of the issue through the stories of other protagonists: Penelope and Alessandro, 18 and 19 who knew each other by sight, but fell in love exchanging messages during the first lockdown. Together for 16 and a half years, the web influencer Linda Tol and the photographer Renwe Jules four months ago they became Louie Gene's parents, a gift that was made to wait for. The men, the success, the disappointments, the strength to go forward always and in any case: the actress Serena Grandi, protagonist of the new film by Pupi Avati She speaks to me again, the story of an endless love, tells the lights and shadows of a life lived with passion. From the first to the last kiss. Finally there is Samuel Bersani. After seven years of silent recording he is back with a new album and a song that is the sequel to "En e Xanax", the hymn to a love of two people who shared panic attacks and the desire to accept their fears . Today, in the interview with Vanity Fair, after the end of that love, with the song Your Memory, the singer-songwriter explains that he closes a circle with the past and talks about the creative block that had paralyzed him.

The story also continues on the social profiles of Vanity Fair, with a call to action that will be launched on Instagram to all illustrators of the network, invited to tell about Love with an unpublished drawing. The editorial staff will choose the most beautiful and representative creations of the theme, which will be published on the Vanity Fair social channels during the week of Valentine's Day. Not only that: the authors with the most interesting social profiles will also appear in a dedicated page on the issue of Vanity Fair to be released on 10 February.

To coincide with the release of this issue, Vanity Fair launches its own new app which offers a unique digital experience as it is enriched with special content and many new customizable features. In addition to the ability to read all the articles published on the site in real time (in reading format for mobile and tablet), exclusive content is provided only for those who download the app: in the 'Popular on Vanity’You discover every day what other Vanity Fair users are reading, while in that #hottopic keep an eye on the most popular themes of the moment; in the video section you will find all the news in video format, with music and subtitles, to be scrolled comfortably; in a dedicated section, i podcast of the most popular Vanity Fairs. Finally, the app allows you to browse the preview of the latest issue of the magazine currently on newsstands. For subscribers, you can read the magazine comfortably, for those who are not yet, you can conveniently pay with Apple Pay / Google Pay by purchasing a single issue or a subscription for up to one year.

Cristina D'Avena on the cover of Vanity Fair Italia – Italian Cuisine

At a time when much is forbidden to us, Vanity Fair celebrates desire with a special issue dedicated to love. Cover star, Cristina D'Avena as you've never seen her before

Vanity Fair celebrates desire, love and life beyond this difficult moment and does so by putting on the cover a character who has chosen to stop the usual clothes to dress those of those who have no intention of resigning themselves to the roughness: a Cristina D'Avena shining, proud, mistress of her own erotic, human, emotional potential.

The singer and actress – who made her debut at the age of 3 at the Zecchino d'oro and then sang the theme songs of all the most loved cartoons for several generations – reveals her sexy (and unprecedented) side in the Vanity Fair issue on newsstands from Wednesday 4th November. In the role of Dita Von Teese she poses for this special issue because, as she says, "In these uncertain times, the only way to exorcise fear is to cultivate and practice desire".

"The real problem is that we have lost our innocence: in March, when the first lockdown began, there was hope at the end of the tunnel, everything will be fine, the songs on the balconies, the batches of cakes, the live Instagram. All confined, some alone, others in company, however all convinced that something had to be sacrificed to get everything back ", writes the editor in his editorial Simone Marchetti. “But here we are: more disappointed, angrier, perhaps even more afraid than before. Because it is not just the virus and the prospect of yet another collapse of work, the economy and security that frighten us: it makes us anxious not to see the light at the end of the tunnel, the end of this terribly memorable year. And here comes this new, provocative issue of Vanity Fair: we designed a newspaper to celebrate desire, love, life, our body and that of others, our sexuality, that of those we love and those we desire, as well as this difficult moment .

In the pages of the issue, Cristina D’Avena interviewed by Marchetti tells us that only two things are valid for her at this moment: tolerance and hope. «The tolerance that is being lost due to the bias of social media and so much contemporary politics is fundamental to understand everything: others, what doesn't work, what works, how to adapt. And hope is a consequence of it: hope is the virtue of those who can see the light at the end of the tunnel. It is an exercise in strength .

How does he manage to exorcise fear? Living the power of the moments we still have. "We must love, embrace who we can, make love when we can, take advantage of every single second as if it were a gift. Don't think I'm superficial. I think my life and career have taught me to cultivate a healthy dose of childhood. And going back to being a child doesn't mean being superficial. It means, on the other hand, to be more positive because children know how to be light, great gift, and they know how to live better with difficult times because they have the carefree nature of reinventing themselves .

Her role as a child woman and a child woman makes men and women love her indiscriminately because she embodies the light-heartedness of childhood and the sensual chiaroscuro of adulthood, because it is reassuring and it seems to have always known her. Cristina D'Avena admits that she likes to awaken desire, to be a source of attraction and when the director asks her how it was to change her image so much for this cover she replies: "It's a provocation, an invitation to melt, to tolerate, to love more, to hope. I really think this is to be lived as a testing moment. And in moments of trial you have to do one thing above all: resist. And never lose faith. In the meantime, I recommend closing the doors of the house, turning off social media, cutting out everything and everyone. And love. We ourselves, who is close to us, who loves us. Because if you forget to love, you forget everything .

The number of in-depth studies dedicated to the theme of desire: sex over 60 told by the writer complete the number Lidia Ravera; the second eros Barbara Alberti; the testimonies of the children of hard movie stars or Leonardo Tano (son of Rocco Siffredi) e Mercédesz Henger (daughter of Éva Henger and Riccardo Schicchi); the designer is also the protagonist Betony Vernon considered the queen of erotic jewelry e Violeta Benini the "disseminator" who has over one hundred thousand followers on Instagram; cybersex is also explored at the time of lockdown and social distancing and Tinder, the dating app that in the time of Covid has become one of the few places to meet. Finally, the Vanity Fair editorial team went to visit Fabrizio Corona under house arrest.

This week, the Vanity Fair site and the Instagram profile will turn red with a series of live shows, interviews and specials to discuss desire, sexuality and the body beyond the difficult moment and beyond stereotypes.

Giorgio Panariello on the cover of Vanity Fair – Italian Cuisine

Love, forgiveness, memory and hope. Giorgio Panariello tells Vanity Fair a story of pain and redemption

Love, forgiveness, memory, hope: in the issue of Vanity Fair on newsstands from October 28, the Tuscan comedian Giorgio Panariello recalls a story of pain and redemption, that of his brother Franco found dead in 2011.

Today, unfortunately, the situation of the virus puts us back to the starting point, in a rewind that has the bitter taste of defeat. Perhaps also for this reason, in this issue of Vanity Fair we have chosen to tell you an exceptional story, that of Giorgio Panariello and his brother Franco ”, writes director Simone Marchetti in his editorial. "In the interview he gave us exclusively, Giorgio Panariello claims that in difficult moments" the difference between falling off the escarpment or stopping on the threshold of the ravine is minimal ". Here, we think that in that slight difference, in that crack that is drawn between hope and defeat, lies the only way to read this so hard period. "

"I wanted to do Franco justice and take on my responsibilities" says the Tuscan comedian about the book published by Mondadori I am my brother in the bookstore from November 3. Pages that tell the life and death of his brother Franco and how, sometimes, to save you from the abyss are only small moments of luck.

Panariello recalls that they found his brother on a winter night "thrown as if it were a used mattress, among the bushes in front of the sea of ​​Viareggio" and swears that on the day of the funeral in Montignoso "all those who Franco had robbed, insulted, disappointed wept and betrayed. People who had never stopped loving him because, with the exception of himself, Franco had never hurt anyone .

It was said that in 2011 Franco had died of an overdose and it was discovered instead, after a painful trial, that the real cause was the abandonment of a man "out of cowardice". Three people he'd gotten sick with while he was with them at dinner had dumped him from a car and his heart had stopped beating from hypothermia.

"Fortune made the difference between me and Franco," says Giorgio. «I only had more ass than him, but Franco could have been me. Neither of us had ever known who our father was and my mother, who had brought us into the world too quickly, had not been able to fulfill her function. I, born a year before him, was entrusted to my grandparents. He soon ended up in boarding school without encountering affection and attention. In life, Franco especially lacked love ".
Regarding the fact that Franco could have been him, he says: «I came close, really close because in trying to be next to him I was transforming myself into Franco. Reality weighed on me. I was fine with just the wine and the barrel in my mouth. Things were going very badly. One evening they put heroin in front of me. I should have sniffed it and I certainly would have done it, perhaps out of an idiotic challenge or perhaps to show him that between becoming dependent and not being addicted, the difference was only in willpower. At a certain point I saw a lighter appear, then a spoon, finally a crystal and I understood what I was going to meet. I ran out of that house and probably saved my life. "

With great honesty he admits that his brother was also a burden for him "He had the feeling of having a bulky brother and the same feeling was embracing me too, but it is clear that a brother in those conditions was also a burden: to do my trade you must have a free head . He then adds: "When I did not see Franco, the anxiety decreased, but then the feelings of guilt took over".

And when the deputy director of Vanity Fair Malcom Pagani asks him if he wrote this book to atone for them, he replies: "There is nothing that fools you like the sense of guilt: I made many mistakes towards Franco, also and above all for the sense of guilt. Anyone who has a person who uses drugs in their home has an everlasting sense of guilt. I felt guilty when I foraged for his vices, when I denied him the money and also when the gossips whispered: "But how, with a brother like this he thinks to make you laugh?".

Now Franco is no longer there. “And I can't believe it. After leaving San Patrignano, he fell back. We then went to Don Mazzi's community and, after three years there, Franco came out totally clean. He had had the last chance of his life and he had taken it. I don't know if he was really happy, but he was fine. He wanted to live and he understood how wonderful it was to fly with your feet on the ground. He had moved to Pietrasanta, had found a stable job and came to see me on Christmas Eve. We spent a beautiful evening, remembering the follies we had done together and then we hugged. He adjusted his scarf, gave a last laugh of his own, with a hoarse voice he greeted me and I watched him disappear with his gait always in danger, adjusting his tuft. It was the last time I saw him ".

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