He is probably one of the italian fashion insiders that more often has appeared on the famous wwbsite The Sartorialist. Not only his outfits have been immortalized by the many street style photographers outside tha fashion shows, but he is also a very active figure on social networks followed by a huge group of fans. But Simone Monguzzi, despite his young age and the important media presence, that makes him one of the webinfluencers of this generation, has worked as a stylist and lately he has become an interesting fashion writer with collaborations that go from L'Uomo Vogue to the italian editions of Grazia and Amica. For these reasons we could not exclude him from our space dedicated to those key players that are shaping fashion also, but not only, thank to the web. Welcome to Simone!
You have been singled out by many as one of the fashion editors to watch on social networks. And you are often immortalised by street style photographers. How much do you think Instagram or Facebook can help your work?
More than helping my work, I think that social networks can improve it. I’ve never really liked those people who talk too much about the past. If we live an era where, at fashion shows, everyone is photographing and posting on social networks, there must be a reason. After years of the fashion world being closed off, there is a desire and a need to make it mainstream. Personally speaking, I have no problem saying that Instagram and many other platforms help promote your work, especially for freelancers who have to rely almost exclusively on themselves, given that they do not have a publisher behind them. The core should always be interesting content, but the ether is very democratic, everyone can express their own opinion, we just need to know how to choose!
A particular episode related to the world of social networks?
Once I called to order a pizza. The guy on the phone taking my order asked me my name and address. I told him everything, spelling out my surname to make sure the delivery guy could find the right buzzer. On the other end of the line, the person asked me: “How’s Huber?” After a few moments, when I thought about possible stalkers, horror films and simple prank calls, the guy, noticing my silence, clarified: “I’m a follower of yours on Instagram and I love your dachshund!” That’s one example. I was pleased and it made me realise the power of social media. Before, I was more naive.
In general, however, how much do social networks help fashion and creativity? Especially related to young talent, for example.
Social networks are great for promotion, not for helping fashion or creativity. If the object in question works, all social networks will do is to advertise through reposts and tags. Speaking of young talent, I feel there’s only one piece of advice I can give: look at the shades of grey that exist between black and white, that’s where you’ll find the solution. Being extremist is never the best decision, whether we’re talking about clothing, relationships or personal choices.
Speaking of generational change in fashion, Pitti holds “Who’s on next?” in June. How important do you think competitions like these are?
Winning a competition is absolutely great, but the question to ask is: “What am I going to do now that the curtain has come down and I find myself alone with my ideas?” Some people get lost, while others bloom very obviously.
Which of the past winners or participants stands out to you the most?
I like Umit Benan a lot. He does a wonderful job at every show. I appreciate the aesthetics of Studiopretzel and I’d wear all the creations from Emiliano Laszlo, from the first to the last. Those two are my favourites!
A particular memory or moment related to Pitti?
I remember a cocktail party, the brand name escapes me. The location was on the banks of the Arno. Deckchair, cold beers and relaxing chats with friends and acquaintances who later became friends. A very pleasant, fascinating evening.