On 2 September, at the Sala Laguna during the Venice International Film Festival, Trussardi unveiled The Gentle Society, the manifesto short film for the new FW25 campaign, directed by Simone Yang. The cinematography is by Timoty Aliprandi CCS. An intense and visually refined work, the film marks a new step in the brand’s cultural journey. The choice of Venice is no coincidence: a city suspended between memory and future, it has always been a symbolic crossroads of cultures, aesthetics and languages. The film stars Eva Herzigová – who, for the first time, surprises audiences by lending her enchanting voice to an original song – and Fernando Lindez, the face of a new generation. Together, they embark on a journey of delicacy and presence, an ode to the quiet beauty that lives within the simplest of gestures.
Timoty Aliprandi told us:
“At the origins of Gentle Society there was a dialogue with Simone Young about what the visual style of this Trussardi project should be. From the title itself it was clear that the atmosphere had to be elegant, sober, and imbued with delicacy. We conceived a club suspended between reality and fiction, a place that was credible and yet somehow unreal. From there began the visual research: we exchanged references ranging from clubs of the ’50s, ’60s and ’70s to more contemporary inspirations. In the end, we realised that the solution was to create a meeting point between these worlds, an atmosphere suspended in time. Something that evokes the past yet makes it clear we are in the present. The film tells the thoughts of our protagonists, so it was important they were perceived as isolated from the world, almost suspended. Those thoughts arise from an inner solitude, but from that condition grows the possibility of building a more open and gentle world. That’s why I chose two main colour tones and wide areas of shadow: the characters emerge from the darkness, both enveloped and protected by it. The camera movement follows the same logic: almost the entire film is built on fixed, stable shots, with at most slight moves closer. This choice reinforces the idea of suspension and intimacy, while in the finale – tied to the song – we decided to break the rule and use zoom in long long shots, creating another visual mode, freer and almost in contrast with the rest of the film. We shot with Alexa LF and full-frame anamorphic lenses. For the final part I chose instead to switch to a Lomo zoom, which brings in a more vintage, grittier effect, as if we suddenly found ourselves in another era or another dimension.”
