Copy by Francesco Antonio Brunacci

To become capable has just one meaning: to be capacious. The question is: are we capacious enough? Then we have another question which is more natural. Are we sufficiently honest or courageous enough to become spacious? Are we ready to accept what happens to us, good in making research, and of course getting – profoundly – involved to be what we really are? So, in one word: capable? Are we consistent with our vision of the World, of human beings, of the things we are surrounded by?

So, in one word: capable? Are we consistent with our vision of the World, of human beings, of the things we are surrounded by? Do we think that what we are showing about ourselves is our Vision? The vision which composes ethically and aesthetically what we are? Or the other way round, this Vision is – deeply – connected with what the Others see, understand about us, which means that all of us are also composed by what the Others are mirroring about ourselves? Do we really think our experience stitches together all of our relationships and it is capable of impressing our relationships even into our more solitary and unpredictable actions? Into our creativity? Into our way of becoming artists? Is it not true that when – finally – our piece of art is concluded, even the artist observes a never considered result? Is it true that this final result contains within itself not just the Magic of our personal process, but a reality – sometimes brutal – made by that process which has just been imagined on paper and is so extremely astonishing in its real essence?

But there is another very simple reality. When our artwork has been completed, that artwork truly represents what we are. It contains every single detail that, first, has built the artist, then his/her artwork. If we are artist, we have the commitment to make it living away from us. It has to be abandoned so that all the people who are able to observe it, to love it or hate it. The artwork, from that moment, belongs to the world. If you have the chance of observing Emilo Tini while he is working, you can have only a tiny certitude: his work is rooted with constant research guided by discipline and consistency. It is guided by what makes him horrified because of the superficiality that surrounds us. Emilio Tini believes we must live and create, trying to go every single day beyond what it is to be considered “Normal”. That’s why he is capable to embrace the Unknown.

The project.

Fantastic Vision, starts from the idea of a very generous researcher. The real researcher is that person who doesn’t ever stop when he/she in doubt. On the contrary, the real researcher puts – on purpose – along his path what he/she doesn’t know. Then, he/she tries to fix it. To solve a problem means – undeniably – to unroll, to unfold, to dissect, and to unravel. To make Order within the Chaos.

During the last years, Emilio Tini has been able to work with many different important international brands – Dolce e Gabbana, Brunello Cucinelli, Borsalino, Bulgari, Gianfranco Ferrè, L’Oréal Paris, Swarowsky, Canali, Corneliani, Tod’s, –. He has been able to serve them with his humble talent. During the recent years, he has also considered how the very honoured Made in Italy could be transformed by fast fashion into something evil, damned. He has witnessed how many young talents have been destroyed by fast Fashion: their vision was simply misunderstood and demolished. Why has this been possible? Internationally accepted?

Nothing is more discouraging than witnessing a wasted talent. Fantastic Vision simply gathers what Italy is able to create. Concretely. Financing himself, searching for those faces, bodies, and souls that truly makes Italy what it is, Tini has decided that he wanted to build just two things. First, he wanted to create two printed books that every year – in March and September – would be able to show the work of all the Italian people capable of building a new idea of what our country is: the New Made in Italy. Second, he was obsessed by the idea of creating a Web Portal, that every single month will show the international audience creative and outstanding content.

Starting from the beginning of March 2019, he will offer to the audience – on this portal - the result of the new trends and who are the new talents, giving both of them an open space for discussion, avoiding what – unfortunately for us – is called, political correctness.

“Italians Do It Better” he says, ironically, but uses this expression because he believes it is true. There is a Legend that says Italian talents who are leading us through their specific Vision, is full of people compelled to struggle. There are men and women who have swallowed terrible difficulties, people who have lived the reality of what a real obstacle is: not to work at all.

That’s why many of them have decided to simply quit.If you do not have managers giving you money to express yourself, you have to give up. Giving money to talents means giving them a voice. Without money many Italian talents have accepted to be mute. The other Legend Emilio Tini tells us is that this young man, coming from Perugia, then struggling for years in Milan, without any more money, one day had decided to pack all his artwork into his little car and go back home.

That day Piero Piazza – who is now the Elite Agency CEO – called him for testing. The chance was to make pictures for the very famous magazine Women. The accepted pictures gave Emilio the possibility to starting work for the Vogue Industry, especially Vogue Gioiello.

Is it History or a Legend? One is part of the other. However, it is History that Emilio Tini became suddenly capable of working with the most famous super models in the world and with the very eccentric Hat Maker Philip Tracey – the same artist who made a real prodigy by making hats for women such as Isabella Blow, Lady Gaga, Beyoncé Knowles, Franca Sozzani, Madonna, Sarah Jessica Parker, and Daphne Guinness. The little tiny car was abandoned in Milan and it is true that Emilio Tini has never destroyed the three basic pillars that have built his art and life: to refuse any compromise, to set what he considers standardization at zero, and to constantly use his profound sense of sacrifice.

Timid and introvert, absolutely “Not Social” – as he likes to define himself – Tini is known to be a man coming from a little town and he knows very well that many of us – Italians that Make it Better – are similarly from the provincial side of our country. Yes, many of us are coming from little towns that grip us, that daily sting our souls until the Big City, the Dream, the World are finally able to love that Personal Vision which expresses so well our roots. It has been the same for the woman I consider the Best Vogue Editor in Chief of all times, Franca Sozzani and her Mantua. It has been the same for Gianfranco Ferrè coming from Legnano, Giorgio Armani and his beloved Piacenza, for Alberta Ferretti who was born in Gradara, Brunello Cucinelli in Castel Rigone, near Perugia, Claudio Marenzi from Lesa on Lake Maggiore, the Versaces born and raised in Reggio Calabria. This is undeniable. Only artists confronted with what they felt was “constriction” have been able to build an Empire.

Emilio Tini, thanks to his grace, to that inflexible wish of doing exactly what he believes in, to his unrest less attitude, is now the photographer the world knows. He thanks as well his classical studies, a family who has worked so well for him in life-going against the grain, for all the movies by Marco Bellocchio and Antonioni, Federico Fellini and Pier Paolo Pasolini, Marco Ferreri and Jean-Luc Godard. They were watching many movies together when he was a boy. He is thankful to Milan as well, this very fast city, never persuasive, cruel at times, where he lives so well now. He is thankful to the honesty taught by his father, and to the benevolent impertinence coming from his mother. These are the pillars from where this project starts.

Emilio as a photographer. “Sensitive, iconic, brave.” This is Emilio’s definition of his photography. I have seen him shooting many times. I do think what Emilio Tini is capable to create is instead, something else. I am calling for the help of Federica Cervini, a friend, a psychologist and writer of the forward to Paolo Menghi’s “Zone di Silenzio” (*). “ Art – she writes - has always been inspired by the will to live which cries its heart out with the suffering of living. Why living - for example - months after months on a scaffolding to paint the ceiling of a chapel? Why staying days and nights confined in a room, and bending our body on a pile of sheets of paper, just to pull out from some words a consistent harmony, that harmony which could be simply defined as the right direction? [...] The reason is that life runs extremely fast and it is impossible to touch it. It is impossible to stop it, a part from few seconds, when despair has been included within a harmony bigger than harmony itself”.

*Menghi Paolo, 1997, Zone di silenzio, 1° edizione, Roma, Edizioni Mandala Scuola di Normodinamica.

All of this is not to romanticize the creative act: this means trying to include the experience of our despair within our daily life and transform it into a vector. Many times this vector seems to be, instead, enchained within the organic material of our life.Each time Emilio Tini is in front of the person he is supposed to portray, he always considers the relationships with the “subject”. That’s why Tini is able to strip the flesh from him.

He is able to make the subject free and to let him live to what he probably has never given himself, the permission to experience. Tini embraces the ideas of the other person in front of himself: his irony, his fury, the game, the perversion, the simplicity and even the constriction. Once done, Emilio Tini starts to shoot. He moves his camera gently and persistently, then, with an exhausted smile, he says: “I got it!”

This is the reason his pictures go beyond our daily mask: it will be impossible to see Emma Marone, Isabella Ferrari the way he has been capable of portraying them. He has given entrepreneurs, models and actresses, the possibility of offering what they really would like to be. Emilio Tini’s real “it” consists of not putting all of us into his aesthetic vision, but within the Ethos, within the personal signature that everyone would like to live on the earth.

“We are genius, we are brave, we have a very ample vision and a very deep breathing”. This is what he considers the epitome of our Made in Italy. The innovative idea of Emilio Tini – crazy in a way but truthful and realistic – tells us how our evolution could be – constantly – transformed in a Fantastic Vision. This vision – in his belief – has to be repeatable.

It has to be constant and repeatable, because Tini’s ideas and inspirations don’t want to be stopped after this first Alphabet. However, they are becoming – thanks to the content offered to the audience every first week of each month, starting from March 2019 – a vital, unpredictable, and smooth way to talk about creativity. This one, in Emilio Tini’s world, does not have to be compressed or too structured in schedules and rules, but carved within the Real world and for this reason connected to that will of living beyond which every single human being possesses, even though sometimes we are not able to admit this desire of leading our lives the other way round.

What Emilio Tini offers to us with his Fantastic Vision, is a new artistic movement, that is strictly tied up with one of the most clever expressions of the French philosopher Emmanuel Mounier: “Travailler pour l’incertain”. The Fantastic Vision to which Emilio Tini dedicates his pictures and I dedicate my way of writing, is every day generated by the same necessity: “To Work for the Uncertain”.

The Uncertain guides all of us to start our personal research. This process requires a very solid and deep caliber, it requires the capacity to live into a social world and to be at the same time constantly lonely. The only way to generate every artistic research – above all at the very beginning – does not include anything else other than the process, but we have to understand that this uncertain process will be the only way to reach the final outcome.

To be connected to our personal, often excruciating, sometimes funny Fantastic Vision, does not help us to immediately produce an outcome, but at the same time, we have to produce it, and we want it. Otherwise when we are letting the clay “breathe” or giving “wings” to our feet, would be undeniably infertile.

It would be just something mental, not the outcome able to be touched and shared with the rest of the world. Tini doesn’t want to just express himself with his pictures: he wants to penetrate all the worlds he discovers in front of himself when he has his camera in his hands. After having launched his project, he wants all the content present within the web portal, to be capable to create a new Crucible for creating.

Every crucible can be very simple or extremely sophisticated. But we have to consider that a crucible is useful: we can put in it what we want, after having thoroughly chosen the content. So, no boundaries, please. Nothing politically correct. Nothing banal. Now the question is. What is the connection of this new Fantastic Vision with the Fashion World? What is the Fashion Business?I do think that – unconsciously – Emilio Tini – who I have met many years ago thanks to the profound connection between his love for images and mine for words – has been able to use an ancient Myth that we Italians love. Let’s try not to be pedantic. Recently I wanted to know what happened to Ulysses when finally – after so many years of traveling – he arrives to Ithaca.

I had thought to believe – but I was wrong – that when Ulysses sees the island where he had been king, husband and father, he was simply jumping - as a kind of yuppie - from the boat to the beach. I remembered, and I was wrong again, that he talks to the goddess Athena, then he accepts to be transformed by her into a shepherd. He starts running to go up to the city, where he meets the old dog Argo and he is recognized by his old nanny, Euryclea, because of a scar on his leg.

Then, in my memories, he was supposed to kill the greedy Princes and reconquer his bed, his kingdom, his paternity. The story I had in my mind was wrong in many ways. Actually, when Ulysses sees his island again, in a very profound way he doesn’t see it, but he recognizes that this action was a Recognition. Actually while his sailors are on the boat with him, he falls into a very deep sleep. After that they are wrapping his body with a white bandage.

They are his Social Context. So while he is still sleeping, the sailors put his body on the beach and only when Ulysses takes off the bandage, he meets Athena, who transforms him into a shepherd. Without any doubt, what Ulysses has experienced is the Sleep and the Dream, so he puts his Mask on and he is ready for the Action. For us, it is not important that Ulysses is going to act in a bloody way.

For us it is important, instead, that he is ready just, simply, to Do. Recognition, Social Context, Creative Sleep, Dream, Mask and Action are the pillars of Fashion Business. We have to admit that every creative product – in Fashion – needs to be offered in a social context.

Many times I have observed how fashion designers live in incertitude very close to what happens while we are sleeping. That’s why - sometimes - they look as if they were lost or, better yet, they are acting as if they were experiencing an uncomfortable detachment from their collections, the catwalks, the organization and so on. It is also true that when in fashion business, creative people are awakened again, they need a Mask, the mask we are requested to nestle within the Fashion Social Context is what very often seems to be unthinkable.

What happens is like a chain and is this very peculiar chain that produces so many actions capable to make what Fashion is. With his Fantastic Vision, Emilio Tini invites all of us to be determined and strong as Ulysses has been. He guides us to embrace what is uncertain, then shortly to be a bit sleepy, finally to be as dreamers and knights.

Only the Action produces what is tangible, and what is tangible comes from this process. This process is vital but always connected with uncertainty.

This is the reason why, when Emilio Tini is asked to tell us at which precise moment he has decided to become a photographer, he promptly says:

“I think that moment has not come yet. I have never considered myself as photographer. I think I am a 360-degree communicator”.