Saturday, August 25, 2012

The myth of the Pirelli calendar












The Calendar is the icon of Pirelli's communication. A symbol that for over forty years not only celebrates female beauty, but also celebrates the complexity of an art that has been able to transform itself over time. With constantly changing styles and authors, this art always manages to express a new aspect of history.

A PERSONAL IMPRESSION OF THE 2012 PIRELLI CALENDAR MODELS ( wait while loading ).

The Pirelli Calendar's photographers have always immortalised a very sophisticated concept of beauty, mid-way between fashion and glamour. And every year the Cal offers a collection of images that interpret the concept of beauty in an original way, different to the previous year.

The locations are sometimes far-away and exotic, like the Bahamas, the Seychelles, Majorca and Tunisia. This year it was the Corse turn. At other times it is simply the lights of the photographer's studio that illuminate the scene.

It was the 1964 edition that introduced the Pirelli calendar to international stardom. Due primarily to the "friendly" but sexy pictures of Robert Freeman, the Beatles' chosen photographer for their "magical" tours.
It was an immediate success: the models, immortalised on the splendid beaches of the Côte d'Azur, shocked a country that was emerging from the austerity of the 1950s.

Within a few years, "The Cal" became a status symbol, although in 1974 severe budget cuts due to two oil crises forced the company to suspend publication. At the time, British tabloid "The Sub" wrote: "Oh no! They've sacked the models!" But it wasn't forever.

After the oil crisis, in 1984, the Calendar made a comeback, thanks to the talent of Uwe Ommer.
But it took until 1984, another ten years, for the Calendar to become an integral part of the Pirelli business brand.
Even then there was a need for new ideas, and that year they were embodied in the innovative style of "genius" Herb Ritts, followed by Richard Avedon the following year, and they immortalised supermodels such as Cindy Crawford, Kate Moss, Helena Christensen and Naomi Campbell.

In its forty years' history, the Pirelli Calendar has proposed an astonishing array of styles and models of beauty. And now, after 39 editions, it is still a reference point that epitomises the changes and transformations in our society.

THE MAKING OF THE PIRELLI 2012 CALENDAR
THE MAKING OF THE PIRELLI 2011 CALENDAR
THE MAKING OF THE PIRELLI 2010 CALENDAR
ROSIE HUNTINGTON-WHITELEY FOR PIRELLI

AND A COMPLETELY DIFFERENT PIRELLI MOVIE: 'MISSION ZERO' .

2012 CALENDAR - THE PRESENTATION

THE 2012 PIRELLI CALENDAR was presented by the world media, international guests and collectors at "The Armory", the 19th century New York City military landmark.

The 39th issue of "The Cal" is the work of Mario Sorrenti, the first Italian photographer in the history of a calendar that has become a cult. Neapolitan by birth and New Yorker by adoption, Sorrenti chose the island of Corsica and its rugged landscape to create his 'swoon': ecstasy captured by images.

"The intense relationship between a photographer and his Muse is the very essence of the creation of a strong aesthetic dialogue which leads to the sublimation of natural beauty. In making 'The Cal', I approached the subjects of my pictures by building a straightforward, intimate and real relationship which made it possible for me to instill the images with purity. In 'swoon', I put the bodies in direct contact with nature, which harbors them as if they were its extension, in a set of images where rocks, land, tree trunks, sky and sea are all turned into a backdrop for the bodies", says Mario Sorrenti, an artist whose fame was built on his extraordinary skill with nudes.

The 25 pictures of the 2012 "Calendario Pirelli" eighteen black and white and seven colour – are presented in a refined, canvas-lined portfolio, a format that has never been used before.