Franca Sozzani, editor-in-chief of Italian Vogue, spent her whole life making fashion less superficial.

Francesca Sozzani, editor-in-chief of Italian edition of Vogue, died in Milan last Thursday at the age of 66. Is this with Anna? Untul's evenly matched fashion godmother passed away after struggling with the disease for more than a year. Some people even say that when the print media is getting more and more depressed, even Sozzani has left, and the print media is really going to die. It is such a woman who has a detached position in the fashion and even the art world. In addition to mourning and remembering her departure, she also hopes to let more people know the beauty she has brought to the world.

Franca? Sozzani devoted his life to the development of fashion. In the 28 years that Sozani took over the Italian version of Vogue, he brought the dying VI to the peak. With high-quality content, it has created a fashion magazine with the highest artistic value recognized by the industry. As an editor-in-chief, there is not much to show about her private life. More is the magazine itself, attending various activities, interacting with fashion figures and supporting the younger generation.

For the death of Sozani, anna wintour, editor-in-chief of American Vogue, as a colleague, sent a message to mourn this friend in the fashion circle for the first time. Although they are all important figures in the fashion circle, compared with Anna's celebrity aura, their popularity outside the Sozzani circle is slightly inferior. People often compare two people, probably because she is both the editor-in-chief of Vogue and one of the few people Anna calls a friend.

Both of them became editor-in-chief of Vogue at the time of 1988. If Anna is a successful businesswoman and makes American Vogue the most commercially valuable fashion magazine in the world, then Sozzani must be the most radical female artist. Under her leadership, the Italian version is definitely the most striking and artistically successful version in the Vogue family. And she herself can be called one of the best fashion editors in the best era of traditional fashion media.

In fact, when she first took over, the Italian version was not as bold as it is today, and the design was somewhat conservative, and some even tried to please local Italian designers and brands. Sozzani has made great changes in content and form design, making the magazine bolder, more open and more diversified.

She didn't want to be just a fashion magazine read by Italians. She realized that she? "Want to chat with everyone"

Language is an obstacle that has to be overcome, so she weakened the written language and replaced it with photography and fashion films. This is very normal today. In the past, pictures were used to support articles, but Sozzani reversed this situation, making photographic images occupy the vast majority and simplifying the text to a minimum.

Sozzani was born in an Italian engineer's family, and was influenced by his parents' attention to education and love of reading. She studied philosophy and German literature in college, and she is proficient in Italian, English and French, with a little knowledge of Russian and German. Although she works in fashion magazines, she is not bound to be confined to wardrobes and dressing tables. Vogue in Italy does not teach women how to cook, how to save electricity or how to lock their husbands' hearts, nor does it advocate the values of winners in life, nor does it sell a gorgeous and elegant lifestyle. The Italian version of Vogue shows a fashion vision.

Since Sozani took over, almost all magazine covers have been shot by photographer steven meisel. This is an important step to emphasize the photographic picture and establish the style. Photographer Meisel's tension in fashion blockbusters is unparalleled. More than 300 covers have become unforgettable business cards of Italian Vogue, building its mysterious, gorgeous and narrative visual style.

In 2005, I was deeply impressed by the excessive pursuit of appearance by contemporary women. Sozani planned a famous shooting topic-"The Madness of Face-changing". Under the lens of messer, supermodels linda evangelista, Missy Ryder and Jessica Stam were dressed in the latest fashion of the season, and they were frankly injected with Botox, liposuction and rhinoplasty.

The style of painting is like a bloody news report, the only difference is that the heroine is wearing the latest model of the season.

The following year, messer filmed a state of emergency. Models were brutally searched at security checkpoints, implying the reaction and state of the government and society in the shadow of terrorist attacks.

"Without controversy, there is no opinion." This is a sentence written by Sozzani in the private blog of Vogue.it website, and it is also a wonderful comment on Sozzani's editing work.

In Sozzani's view, fashion is never just fashion, it can be any topic.

20 10, oil spill in the Gulf of Mexico. Inspired by this, Sozzani and messer brought a set of shots that shocked the fashion circle and outside. Dark clothes and polluted coastline are as sad as the last days. In this scene, the white-haired supermodel kristen mcmenamy becomes a dying seabird covered in oil.

Black oil dripped from her Alexander McQueen gloves onto her Dior leather coat and spread to Miu Miu where she was wearing.

Black feathers and animal skins symbolize marine life threatened by oil spill. The model froze in the trunk, pale as a corpse. Give the viewer a strong visual impact.

Who says current events can't be fashionable? You have to admire the ability of Italian Vogue to tell stories with images.

As a magazine with a circulation of only 6.5438+0.2 million copies, which is only one tenth of American Vogue, Italian Vogue enjoys a prominent position beyond the scale in the group. Its existence is the guarantee that Conde Nast, as the world's first publishing group, still exports top ideas while balancing its business.

What is left behind can truly define a person's value. It is precisely because of fashionistas like FrancaSozzani that this dynamic and creative industry has been created. There is no commitment and entertainment, and we don't rely on reporting reality shows and fan economy to speculate on topics and drive sales. They opened a window to the ordinary world for countless people, letting us know that beauty is worth celebrating, that the minority is not alone, that differences can be full of power, and that only creativity can break through the ordinary.

Editor: Maggie Meki