EDBorn in Verona and raised in Milano, Silvia’s discerning eye and love for fashion developed at a young age, when she would read fashion magazines and follow the collections of her mum’s 80s band. After completing her Communications degrees from Università di Verona, Silvia set her sights on a career as a fashion stylist with the music world, creating cha- racters and look for music promos. Developing projects for both big and cool emerning brand such as Ray Ban, Persol, Furla, Coccinelle, Liu Jo, Tod’s, Imperial, DSquared, Adidas, Nike, Mau- nakea, Bonsai, Casba, Doomsday, Silvia’s career as brand managment consultant had a stop in Fixdesign, a well know fashion company which encharge her to follow up new concept ad brand manager betweek 2011 and 2013 for special advertising project, ecom- merce and campaigns. With her keen eye for details and fresh approach to styling, Silvia’s ability to simultaneously predict trends and transcend them, had solidified her presence in an ever-changing industry.

Silvia divides her time betweem editorial and ADV shoots, fashion campaigns, entertainment entities like MTV Awards, X Factor, Sanremo, Red Bull Clash live event and countless music video, booklet for artist and celebrities. Shes was nominated three times as Best Styling at La Jolla, winning with her partners in crime Pablo Patanè last year with DOLLS HOUSE, a film produced by Ei- nat Dan. Shares her time between London, Berlin and Milan, where she’s leading a styling team called Tiny Idols, following the biggest italian artis as image con-sultant.

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HOW EVERYTHING STARTED AND HOW DID YOU GET INSIDE THE FASHION WORLD? It has been very natural: When I was a child my mother and her sister had a fashion company, I saw my uncle studying and leaving for Monaco to work as a designer for Puma and I saw my grandmother sewing my first custom made clothes.

Even if it has been a blood-stuff, nobody has ever for- ced me to do it… In fact everyone in the family thought that I would have taken another way.

WHAT IS YOUR BACKGROUND? I’ve started with an internship in a creative office when I was still graduating in communication at university and after this I’ve started my own journey. Since then I star- ted studying the history of videoclips and cinema from the point of view of costume and I wrote a thesis with a comparative analysis between Fellini and David La- chapelle. During the internship, my supervisors asked me to work in the wardrobe and it all started from there. I had to do 250 hours and I stayed the nights both there and in the studio doing research.

As soon as I could I moved to Milan to start working as a freelance stylist and after my Image 11 (2)movement to the big city the firs big projects came to me. Seems very easy and simple as you describe it… It is easy if you know that Is not properly a job but a lifestyle: It’s about to know what you want and you use all of your resources to obtain it, if you have a vision and you know how to express it, if you have your own aesthetic and you can visualize it, if you have an ima- ginary world and you can create it, if you have a na- ture that is open to confront with the others, open to the critics, to the problem solving, to the proposals and also to the bad strikes, to the various no that you will receive and to the impossible conditions. I could go on but I think it’s already pretty clear. And not easy, at all.

HOW WOULD YOU DESCRIBE YOUR IMAGINARY WORLD? I went through various creative phases, trying to watch as many films as possible, TV series, video clips, edi- torials, so the inspiration has always been transversal to the contents. I was very impressed by the dream ae- sthetic of Gondry and Spike Jonze, the poetic realist by Spike Lee, but also the scary one by Larry Clarck. Wes Anderson has literally kidnapped me and some nights he is still awake in a video clip by Martin De Thurah. I take what I like best about the characters of each world and I decline it according to the project, trying to make it mine with the help of a color, an ac- cessory, a contrasting combination. For example, with Salmo in the last Playlist Tour we made a customized PTCRS inspired by a coordinated 1950s Elvis but revisited in a futuristic key inspired by the reflective wave that many designer were propo- sing. It has been literally crazy.

I had known Salmo long before obviously working to- gether and I went to many of his concerts. I first came into contact with “Machete” through a production ma- nager I often work with, Antonio Zappadu, and then Manuel, Hell Raton, with whom I immediately bonded. From him I received the proposal to make the war- drobe of the Red Bull Sound Clash 3 years ago. And eveything started there.

AND HOW IT WAS? It was gone that from Friday to Saturday I set up 3 co- ordinated outings to 6 artists. One of these was Mauri (Salmo). Machete won the Clash. The relationship with him and his brand, Doomsday, started from there. Tell us how you develop the costumes and the outfit for him. Every artist I follow is in a particular phase of his journey and even before starting to work it is ab- solutely necessary to understand what is right at that moment according to his history and of course to do a coherent and punctual work. I immediately understood that with him I had to go far beyond not only my vision, but also his own. He had just finished the tour with Hellvisback and needed to slowly get in touch with the realities of a world to which he is interested in but in an outsider way. A bit like me. I continued his streetwear idea by combining some pieces related to top brands like Vetements, 424, Amiri, Martin Rose, Alyx. Moschi- no immediately approached and we tied a report for the big dates of the tour also going to meet Jeremy in the fashion show, which gave us some incredible pieces exclusively. But surely the most fun thing is the custom with the new designers.

Yes, I was coordinating the tour wardrobe with his brand coordinator Filippo Agostinelli and we immedia- tely threw down a custom idea. I was already in contact with Frank Liori and Andrè Suergiu, the other two par- tners of the brand and together we studied the various possibilities of acting according to timing. In about ten days my team and I, together with Frank, finished the two custom DOOMSDAY that would then go to the first dates.And we literally finished them in the backstage a few minutes before the concert. We like it that way. (laugh) Do you have any bad story or is it always per- fect? There are always unexpected or crazy variables, conditions that you can control, such as shipments or suppliers that are not serious or various critical issues during the production. For this reason I always have a plane B and a plane C at least at the height of plane A, or even better than plan A.

BESIDES WHO DO YOU FOLLOW LATELY? I’m following Coez with whom I’m on tour with
E’ SEMPRE BELLO. We started with 3 Bonsai custom made on Tommy Biagetti’s analogue photos while they were traveling in California and now we are planning many other dates and many other collaborations after Verona’s concert.

5Z9A9317_okHOW IS THE RELATIONSHIP WITH THE ARTISTS? With each artist, each team there are different rela- tionships, empathies and different mechanisms, which over time can lead both you and the artist towards new imaginations and new visions that reach everyone, exactly how the music does to everyone. With Silvano, for example, we increasingly evaluate custom and personalization to convey his world whi- ch is made of positive messages, sometimes it is a pretty nostalgic world. For Example the graphics of the 1980s video games, but with a timeless, real version, without unnecessary flaunting.

I see that everything very oversize and I like it. Pro- bably that all this wave of custom and mash up logos can lead to a cleaner monochrome trend, to black and white. The road will decide.

YOU NAMED THE STREET, BECAUSE IT’S WHERE THE BIG TRENDS COME FROM, IS THERE SOMETHING THAT REALLY ANNOYS YOU IN THE CLOTHES YOU SEE AROUND? Everyone is free to express himself as he pleases, so I also prefer to concentrate on what I like at that moment, for the occasion.

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