Raffaella Carrà is gone, she was 78 years old. To give the sad announcement the ex-partner Sergio Iapino: “She went to a better world”.
We want to remember it in this way, as the director Simone Marchetti had wanted it, for his first issue of Vanity Fair, in February 2019.
«I have discussed it many times with Pippo Baudo. My theory is opposite to hers: every now and then, especially if you are a woman, you have to get out of the way. If you are always there you never renew yourself. Always the same face, the same expression, the same mischievous. TV, to do it well, you have to see it from the outside as well. You have to understand where you live, who is on the street, who has their hands on the remote control and in the evening chooses you. If you go away for a year or two, nothing happens. And if they forget about you, it means that perhaps your presence could have been done without. (…) I never cared about money and ambition, but without courage my life would have been sad. If I have done some bullshit at times, I have done it because I had chosen it. But if I don’t feel something, I reject it ». So in the cover story of the number of Vanity Fair on newsstands from Wednesday 13 February – the first of the new course wanted by the director Simone Marchetti – Raffaella Carrà, photographed by Pierpaolo Ferrari in the unedited version of a model, she tells why she has made a name for herself in the Italian show business “Lady of No”. The three no, for example, said to the director of Rai 3 Stefano Coletta (“What do you care about giving me a program at any cost? I’m fine without doing anything on TV”) before accepting the fourth program he proposed, a series of interviews with the great personalities of our time, starting on 28 March.
Of his return he fears only «that the public after an hour and a half in which they don’t see me singing, dancing and fooling around will say ‘what a drag’». In fact, we should not expect a real show: “(…) The show will be the words and in this moment of homologation also on television, of reality all the same made of nothing, which bring superficiality to the fore, a transmission of words, exchange and confessions, it seems to me to be something right ».
Almost one Revolution, a revolution that she is often acknowledged to have brought to Italian customs. “They say it now, but for decades I have been considered that of the navel, the tuca tuca or the beans. Now that I’m 75 they say I made the revolution ». Speaking of navel: «Where was the scandal? Where is the provocation? Everything was clean. (…) Today on TV I see castaways with a thread in their ass or with their breasts remade from which a nipple emerges. I do not judge because I have never been a moralist, but that they want to show thread and nipple is evident. (…) Maybe we would have let it through too, but the point is that I didn’t like it. Today there is more freedom on TV, but it is above all a freedom of speech. We swear words we didn’t say them, today it’s enough to put any transmission and if you don’t say fuck you they’ll even look bad at you ».
Service: Sarah Grittini
Tuxedo and shirt suit: Giorgio Armani
Ankle boots: Aquazzura
The main dowry that is recognized: “Irony and self-irony. (…) Others have not always understood this. In the world I am not saying they consider me a tsarina, but certainly a woman who is powerful in her own way. But that’s not true no. Nor that it was ambitious. If I had the pace of a carabiniere and to some I seemed aggressive it is because, in a fundamentally male world, I had to defend myself and assert myself ».
On his former partner Sergio Japino, of which they wrote “Beauty meets the beast”: «They were bad, indeed monstrous and it is useless to say a lie: Sergio suffered. (…) Has anyone ever made a note of this kind on Costanzo to Maria De Filippi? I do not believe”. On his first great love, Gianni Boncompagni: “I really miss. I would like to talk to him, to go to him. It is no longer possible and then, even if I don’t go to church, I still speak to them praying. I pray every day, not just for him ».
On the Revolution grillina, in which he said years ago that he believed: «They too have realized that criticizing is easier than doing things. Now we have this yellow-green thing and I think we should all hope it works its best. I hope they break down the bureaucracy and make themselves felt harshly in Europe. Di Maio and Salvini must not go up with sandwiches, but the whole Parliament. And not to tell Juncker that he drinks too much, but to make it clear that this is the story of migrants they all have to deal with it. Knowing that 40 migrants are ill, or that no one is moving to Africa: this makes me sick ».
Vanity Fair reinvents itself starting from this issue with a new graphic design edited by Maximum pitis (creative director of Wired Italy awarded in New York as “Best magazine in the world”), a new slogan (“What is is not what it seems”), new formats and new signatures: this week, for example, they debut as collaborators the editorialist Mattia Feltri, the Israeli writer Eshkol Nevo (The symmetry of desires), the artist Maurizio Cattelan, Ambra Angiolini, Roberto D’Agostino, Costantino della Gherardesca, the enigmatic astrologer Maria Rivolta Celeste. And many others in the next issues.
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