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‘Creativity doesn’t have a geographical location.’

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Feature by Michael Canning

Originally from Parma, Italy, now based in New York, Ferdinando Verderi is Creative Director of iconic brand and publisher, Vogue Italia. He is also one of the most progressive thinkers in fashion today — for a taste of his influence, take the January 2020 Vogue italia issue that completely replaced photography with illustrations.

Ferdinando has been recognized for possessing a creativity that makes meaningful statements in popular culture. He has also lent his talents to in-depth strategic and creative partnerships with brands including Versace, adidas Originals and Alexander Wang. We spoke with Ferdinando about creative life in New York and his global perspective on creativity.


On where you are based

I grew up in Parma, Italy, although I would say I grew up professionally in New York. Today I’m based in New York, but I also live a slightly nomadic existence with my work and travel. I quite often visit Italy and Milan, which is a city I know very well, and I spend most of my time travelling between the usual suspects of New York, London, Milan and Paris. As we speak today I’m in Milan, where I have been for Milan Fashion Week and other projects for Vogue Italia.

On countries you have lived around the globe

I’ve lived in Italy, Germany, Sweden, China and, of course, America.

On your relationship with New York

New York is basically my greatest love. I feel like it really accepted me and transformed me in a way. New York is a big part of my identity. I’m very grateful to it and connected to it on a deep level. I feel like my actual energy and thinking metabolism is a product of New York’s rhythms and speed. The unpredictability and restlessness of New York is a feeling that I think I am very addicted to. The other thing about New York is the sheer importance of the sense of community that the city embodies. These are all things about New York that are connected to my way of thinking.

Vogue Italia‘s January 2020 issue replaced usual glossy photographs and fashion spreads with original artworks, in a bold statement on reducing the environmental impact of photoshoots. Images courtesy Ferdinando Verderi.

On New York and your own creativity

There is a restlessness in New York that is this sense of a constant, perpetual search for something, which connects with my creative process in that I try to never feel like I have reached a final conclusion, but always try to challenge what I’ve been thinking.

On learning from diverse cultures

I think the most interesting thing about experiencing new cultures to your own when you travel, is actually finding and seeing similarities, rather than just differences. Cultures around the world are ultimately defined by many individuals, and the more I travel, the more I realise that we are all very similar at heart.

'I feel like my actual energy and thinking metabolism is a product of New York's rhythms and speed. The unpredictability and restlessness of New York is a feeling that I think I am very addicted to.'

On the passport of creativity

Creativity doesn’t have a geographical location today, and interesting cultural ideas often don’t have any time lag between countries, like they might have in the past. Creativity can exist in the same moment globally.

On a place you get work done

I like to work in hotel lobbies, even in my hometown in New York.

Above: Jefferson Hack book 'We Can't Do This Alone' designed and edited by Ferdinando Verderi, has over 300 pages in a seven section manifesto, of sorts, about the future of publishing. Below: Creative collaoration with PRADA. Images courtesy Ferdinando Verderi.

On your creative vision at Vogue Italia

My personal creative process is very ideas-led, and part of my vision for Vogue Italia is to create a moment with each issue and cover that we create that is interesting or entertaining enough to start conversation around a theme — to speak about culture through fashion. This is part of what I see as an overall challenge for how the editorial world can work and operate. A recent example of this is our issue of Vogue Italia in January 2020, where we replaced the classic photographic approach of magazine covers with work by artists and painters, as a comment on environmental sustainability in the fashion industry, and to announce our own focus on reducing the environmental impact of photoshoots and the editorial process. Hopefully this can inspire a precedent that others will follow.

For the July 2019 Vogue Italia issue, we focused on a theme of DNA, which aimed to cast a light on the meanings of identity and heritage in today’s multicultural and global world. The three models in our shoot underwent a DNA test to trace their origins on set. At a time when DNA testing of family origins has almost become a trend, it presented a theme around what multiculturalism means today, and also Vogue Italia’s own DNA of creativity.

These are a few of the types of ideas that I have been able to bring to life, with the approach that I am pursuing of using the magazine as a platform to say something through fashion, whether it be more deep or fun or topical.

'Creativity doesn't have a geographical location today, and interesting cultural ideas often don't have any time lag between countries like they might have in the past. Creativity can exist in the same moment globally.'

On your usual work schedule with Vogue Italia

I usually travel a lot for shoots, about a week per month for each Vogue Italia cover, and also for brands that we are working with. I spend about fifteen or twenty percent of my time in New York, and the remainder travelling for work and creative projects.

Work for adidas Originals x Alexander Wang: Rather than launching the new collection with long lines around a bricks and mortar store, this Season 2 launch flipped the traditional model on its head using bike messengers to deliver orders by hand, which made the streets of NYC an innovative retail space. Images courtesy Ferdinando Verderi.

On a constant state of creative change

With all the travel I do, it’s like I’m in this constant state of beta. It’s a state of flux which is never really settled. I think this is a good condition for my brain to be in because I don’t feel like I’m ever reaching an end point, which has become part of how I like to think and create, which is constantly iterative, and doesn’t feel like anything is ever finished. This allows me to keep making things better and better, rather than just reaching an end point. I find it is an inspiring condition to be in because I’m literally on tour with creative projects, but I travel with my team and we get to have this always-moving creative experience in different places. As I said earlier, I am in Milan right now for Milan Fashion Week, which has been a crazy week with the impact of the coronavirus. After a couple of meetings here today, I leave for Paris, where I’ll be met with the next challenge.

On finding creative inspiration in New York

When I need to think and isolate myself, I typically go uptown. I like the scale the city takes up there, and I especially find comforting the fact I don’t belong. I also find myself often in hotel lobbies. I like the transitory atmosphere; it makes for a special type of privacy, even if among other people. I love the fact there is often no music.

Vogue Italia issues with Creative Direction by Ferdinando Verderi.

On exceptional design in New York

The Earth Room, and Donald Judd Apartment on Spring.

On favorite restaurants

My friend’s Sardinian restaurant in Nolita, called Epistrophy, and Italian restaurant I Sodi.

On window seat or aisle

I get claustrophobic so I choose the aisle.

On New York in a few words

New York is a cruise ship where I like to think everyone is traveling in the same direction. And it’s the ultimate sea town, after all. 


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