NOTE: The interview of Mr Macs Iotti is part of the 6th issue of ISTEROGRAFO magazine dedicated to fashion, coming out on February 2nd 2010. All photographs were taken from Mr Iotti's personal webpage and have nothing to do with the printed version. For additional credits visit Macs Iotti.
Dear iDEALS, Macs Iotti has recently served as the Creative Director for Vogue Hommes International, collaborating with top shelf photographers such as Mario Testino, David Sims, Mario Sorrenti, Inez Van Lamsweerde and Vinoodh Matadin, Terry Richardson, among others.
As a recent former partner in Sheltergroup, a Milan-based creative agency, Macs Iotti has lead numerous strategic projects for brands including Jil Sander, Tod’s group, Max Mara group, Trussardi, Malo, Ballantyne, and Casadei. Now working as an independent Art Director, he continues to service several of these clients. As an early creative partner of Riccardo Tisci, Macs spearheaded the art direction for Tisci’s seminal shows and they continue to collaborate on works at Givenchy.
For six years running, he has art directed Dievx du Stade, an internationally recognized calendar depicting the French rugby team. For this effort, he worked with photographers including Steven Klein and Peter Lindbergh. Macs has also served as the Art Director, and among the founders, of Boiler, an independent, visually lead contemporary art magazine
-Thank you for this conversation Macs. A lot of people do not understand what "Art Direction" represents. Can you describe your profession and responsibilities over a client or project?
Well... this is such a hard question to begin with... I have always asked myself this as well. I studied architecture for 3 years and decided it was not what I wanted to do. I then moved to a graphic design school and I realized that even there, something was missing. I have always been interested in the creative process since I was a kid.
I frequently talked through images rather than words and reacted to them in order to generate my own imagery. Suddenly I realized that there was actually a term to define what I have always been naturally capable of doing.... The term was "Art Director" and for me, at that time, this represented the perfect alibi to be able to do what I wanted to... and just being spontaneously creative... I then realized that this could be transformed into a job, and that all my spontaneous creativity could be directed to satisfy also specific requests from clients... and of course in fashion..., which I loved.
For a little while I also felt not entirely comfortable naming myself "Art Director", especially in the very frequent occasions where people were coming to me asking, "what do you do?".... by me saying "I'm an Art Director.." always generated reactions like... "ahhhh..."... "mmhhhh..."... and I am assuming for this exact same reason you are asking me this question.
In these modern days I think the best global way to answer this, is to ask it to the Internet.... these are my highlights from English Wikipedia regarding the definition of the term Art director:
- "a sole art director unifies the vision.
- The art director is in charge of the overall visual appearance and how it communicates visually, stimulates moods, contrasts features, and psychologically appeals to a target audience.
- The art director makes decisions about visual elements used, what artistic style to use.
- Art directors translate desired moods, messages, concepts, and underdeveloped ideas into imagery.
- An art director may be trusted and respected enough to execute his/her vision with little or no input from others... (Does not happen everyday...)
-The ability to formulate and communicate the message.
- In modern advertising practice, an art director typically works in tandem with a copywriter.
(this explains why I was not good with words...) see http://en.wikipedia.org/wiki/Art_Direction
But they still grow and become more and more. Why would someone start a magazine nowadays if "all is said and done" by others?
"All is said and done", I do not agree with this. I think there is always the space for « THE NEW »... we are all waiting for it only to be surprised and amazed.
« THE NEW, THE DIFFERENT, THE UNKNOWN, THE UNLIKELY », everything can still be done, the ingredients should be intuition, awareness, and freedom. When I showed to my beloved grandmother the premier issue of my first magazine about contemporary arts and aesthetics titled BOILER , which of course I was very thrilled and excited about, she proceeded to take her time to flip through it, and then she said : "looks nice... but i did not learn anything from it".
Her immediate reaction meant a lot to me, which leads me to my main suggestion to whomever decides to begin such an enterprise: People want to learn !
-What makes a magazine successful?
A clear unique vision and individual souls behind it directed to a very specific target.
-Why do you think there are so many magazines in the market? Sometimes when i arrive at a good newsstand I get kind of scared. My first thought is "so many wasted trees..."; I think that for several different reasons magazines have always been needed because of a very high request from the market, and because they were the only tangible media source where you could be informed... then, more recently it became common just to run a magazine, and from this point many new ones have been born.
I think today for printed matter is a very challenging moment. This is a great period for one of two options: the institutional, aboveground, mainstream, and well done magazines, or the independent, visionary, underground, and opinionated publications. Magazines that are in between this should not be in circulation. The Internet has changed the speed of the delivery of information and visuals, and along with it the consumer’s attitude and need to constantly be informed.
I'm sure, and I actually can't wait, for a new sophisticated and visionary form of 'ZINE¨ of original or appropriated texts, images, that works and lives based on the principles of the digital technology... I would love it... actually... I should do it. My favorite magazine at the moment? National Geographic.
-What makes a good magazine and what a bad one?
Good magazines or any other kind of publication with a focus on specific interests, are good when every aspect of them is well-curated and coherent with their reasons of being out there, and when they know what their target's expectations want. Bad ones are the ones where this is not happening.
-How important is for a designer to work with someone like you? What can you offer to a Fashion House that a designer can’t? In terms of ideas, direction, re-launching ones lost identity..
It can be very important if the designer or a brand is open to team work, discussion, and sharing. The main aspects of my role in creating branding and advertising for a client are to interpret their communications strategy, and then develop proposed creative approaches and treatments that align with that strategy.
I can offer an external point of view that might be useful to help them to collect their vision or needs to a communicative direction that reflects their sensibility, and respected heritage ensuring that the new branding and advertising fits in with their requirements and the image they wish to promote for their company or product.
-How was your experience as the Creative Director of Vogue Hommes International, a position chosen for you by Carine Roitfeld?
It has been very important, and the most exciting experience in my career thus far. I have been very honored and grateful to be a part of such a team.
Unexpectedly through a series of different circumstances and events that I like to call "destiny" - I was suddenly appointed Creative Director of Vogue Hommes International being in charge of re-launching a magazine working with such an important, experienced and over the top team.
Immediately following being chosen I found myself instantaneously working on our first issue initiating and stimulating creative ideas for and from everyone involved in the creative process, which of course was with normal editorial times... meaning no time. The best discovery following all of the pressures of "being there" was to realize how the VOGUE PARIS team is such a "Family", and how collaborative and stimulating it is to work for, and be part of this family. I had been given a lot of freedom and respect for my role there and for this I'm very grateful. I learned a great deal from my experience their and as an Italian, I have understood the French attitude and Savoir faire.
"We're French! We smoke, we show flesh, and we have a lot of freedom ... “(Carine Roitfeld)
-How did it end?
It ended as it started... in a very casual way, due more to directional management, logistics, and internal changes than to my individual modus operandi.
My relationship with the VHI "Family" has not been affected or changed at all, of course, I would have remained in the "Family" house, but once again... "Destiny", based on the belief that there is a fixed natural order to the course of events. En toute chose il faut considerer la fin.
-How was the aftermath?
The feeling of a great experience like this refers to know-how, knowledge and the availability of being open to new projects. Let's Dance!
-I always wanted to ask a real insider, what makes the VOGUES so strong?
The spontaneous approach / Individuality / the confidence of living fashion as a lifestyle / Carine's instinct /
-You constantly work with some of the top-shelve photographers. Who is your favorite and why?
There are so many established and un-established talented photographers out there. My choices are made based on the project and/or the Client. My all time favorite is Mr. Helmut Newton. He continues to prove a major influence on modern fashion photography and visual art.
Do you prefer working solo instead of being a part of a company?
I'm coming from a 5 years long partnership and have been solo since one and a half years. It is as exciting as it is challenging. My position has changed significantly as I'm no longer only playing the creative role, but I am subsequently in charge of all the other more practical aspects of running a company. Working for yourself brings you a lot of independence and self-determination which is a privilege and can generate an abundance of opportunity.
-What does it take for a young person who wants to be an ARTISTIC DIRECTOR?
Intuition, genuine vision... and the ability to listen.
-How did the recession affect you and the fashion business in general?
"LA CRISI"... this is recession in Italian, we have been listening to this word far too much lately, it is time for "BASTA CRISI"!
I honestly think that it was kind of needed in this moment to re-establish the industry, especially in terms of real values and quality. In my field, we were living a time were talent fees were over the top and there was little respect for the value of capital. "LA CRISI" made an economical adjustment possible and created a new appropriate criterion of using and saving money.
It has also re-balanced the established luxury and the mainstream markets. In my case It has generated never ending budget discussions, but it has not effected in any way the quantity and quality of my consultancies.
-What does the industry need right now you think?
Intuition, genuine vision... and the ability to listen.
-You have a very close relationship with Riccardo Tisci and Givenchy. Can you share more details?
Ricky is a very good friend of mine. We have shared a lot together and I'm really admiring how quick he has been able to arrive at building Givenchy to be one of the most influential and inspirational Maisons of the moment.
This requires a lot of hard work and energy. I know him since he was just Riccardo Tisci, without the "for Givenchy", and, together with other friends we have supported him and helped him do his own line, with no budget but a lot of love.
In particular I have helped him on setting up his Riccardo Tisci shows in Milan... It was a very pure and spontaneous experience and extremely successful.
-What makes Givenchy different from the rest of the Fashion Houses?
The ability of Riccardo building such a strong brand image based on his true inherent vision of romanticism, Gothicism and modernity.
-While in Paris recently, for the Fashion Week, I noticed that there was a general lack of excitement, mediocre collections and less vibe than previews seasons? Did you feel this too?
I have to disagree with you here. I think it was a very strong season. Thanks to "LA CRISI" designers had to really study the true DNA of their heritage, and the result in many cases was very strong and iconic. The idea of runway to reality was apparent more than it has been in many seasons.
-What captures the essence of Fashion now? Where is it heading to, lets say, for the next five years?
What captures the essence of Fashion now? The Reality. The Street. About the next five years... SKITZOFRENICEXTEMPORANEOUSCHICCHERIANEO-MINAMILISTA,
and I can barely think of tomorrow.
-During our meeting you said something quite important about the 20-something generation, compared to our 30-something generation: They see fashion in a different way. They move and work differently. Can you be more precise?
The new kids are not concerned as much with culture and history. It’s all very transitory for them. 20 - something at times can be very presumptuous and arrogant. Information is much easier to come by which can result in laziness and indifference. This of course is generally speaking and their are some very beautiful exceptions.
-How do you like spending your free time Macs.
Loving.
-When am I going to see you again?
I'm not so sure after these very difficult questions!
-Ha ha...
Interview under Un nouVeau iDEAL copyrights.
the "20 - something " are not arrogant.....the people "30-something" are disgusting thinking to be THE GOD!
Posted by: anonimous | July 20, 2010 at 15:36