We were already in a good mood. We were at Basement, the third outfit of the night, the first two were amazing, but the last one was iconic. We were already in a good mood. We were at Basement, the third outfit of the night, the first two were amazing, but the last one was iconic. She looks at you from the red sofa, wearing Isa Boulder and letting her hair down. There is grunge music in the background, that kind of song where the singer has a scratchy voice and a dry throat at the beginning of the second playing.
We put on our knee-high boots and walk down the stairs, further and further down. The wooden walls reflect the light from that crop top and mini skirt. The music is getting louder and louder. She knows how to wear a little jewel of craftsmanship in front of your eyes.
This piece of knitwear drapes tightly and sinuously like only this brand knows how to do, but after all, we know we don't just like to be good girls.
And now we want to see some action. We got to where no one can hear us. Where fashion becomes her partner in crime. And JW Anderson's Carrie collection is damn near perfect for the occasion.
"If you're in the mood for terror, bring Carrie to the party", but if you're in the mood for style, you need to bring Aurora.
- Who is Aurora Manni?
An existential nightmare, struggling not to sell its solutions for cheap.
- You were born and grew up in the big capital. How do you think Rome influenced your formative process?
Rome gave me the right eye for beauty, importance of space, slowness and all the cinematic fascination one could have. I’m sure it helped me become the quite observer and meditative person I am, which is nourishing from a spiritual point of view but not very practical in real life. Rome is a contemplative space, sometimes it feels like it would be better to live here during retirement years. Ennio Flaiano, great author and screenwriter (Fellini’s one), gave voice to to this odi et amo relationship with Rome the best way possible: bittersweet, satirical yet inevitably true to the city’s, and its people, temperament.
- You have a secret soft spot for writing. Don’t you? What inspires you in your writing?
Writing is an urge to create my own vision, disconnecting it from a necessary physical representation. I’m constantly assaulted by realism, photographic one, and writing down images that only I can see really calms down my brain and restore my creative energy.
I find inspiration in what hurts me and what seems to make other people happy. Probably the starting point is that feeling of lacking in empathy and writing is an attempt at it, to get closer to the world.
- Can you tell the kind of music you like by the way you dress and pose?
I like alt rock music, mainly lo-fi, slowcore or post hardcore, but I’m exploring new artists everyday. I’ve always had this curiosity since my childhood because of my dad’s infinite music knowledge: I really wanted to keep up with him. I guess you could tell that I’m into “sad bastard music” (as Nick Cave would say) from the naughty or crippled up way I pose and the the way I play with costumes: sometimes it looks submissive, melancholic, romantic and almost like I feel sorry for myself but then there are these glimpses of aggressiveness and tomboy rudeness to mess things up. Dressing up it’s the best identity sport and gender roles deconstruction plays a big part. Sometimes I like to give away a conscious yet ridiculously sexualised image of myself and sometimes I like to wear a big fuck off. Most of the times I wouldn’t like to be perceived, but since I have to it’s fun to play at it.
- Three films to describe your style?
Five are already hard enough!
Possession, Andrej Zulawski, 1981
Magnolia, Paul Thomas Anderson, 2000
Badlands, Terrence Malick, 1973
An American Werewolf in London, John Landis, 1981
Belle de Jour, Luis Bunuel, 1967
