Ciao!
My name is Luisa Beorchia, I am an Italian editor and visual designer based in Paris, currently at Le Monde. Driven by a passion for research and learning, my practice spans writing, graphic design, content creation, photography, archival research, styling and project management.

To read my articles for Vogue Italia, click  here
To see my inspirations, click here
To know more about me, click here

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This is my cabinet of thoughts, ideas, images, data, aesthetics, ethics, maybe questions...
After the precious advice of Giovanni Stoppoloni, I started to collect everything that I find interesting, so I can keep it in mind and never forget.
翻杂志 辰光匆匆，是60年代英伦男孩啊第二期 Service 杂志内页，瘦削的身板、摇摆六零年代的发型罩在白皙的脸蛋上，呼啸就过的青春气息。
Will Scarborough

Rosie Marks for Double Magazine
Rosie Marks (b. London, 1993) documents everyday subjects and people. Her voyeuristic eye is void of sentimentality and obsessed with the peculiarity of human behavior and discourse



“UNCOMMON PLACES”

Stephen Shore  documents scenes across the United States. Streets, intersections, motel rooms, storefronts, and roadside environments....The work emerged during a period when color photography was still marginal within museum and academic contexts. By presenting ordinary American spaces with clarity and formal rigor, the series contributed to a broader reassessment of color photography’s legitimacy as an artistic medium.



Soody Sharifi

Soody Sharifi is an Iranian/American artist based in Houston. Her work primarily deals with the paradoxes and contradictions inherent in living between two cultures. From her Maxiatures to Persian Delights, she investigates the emerging concept of self-identity in Moslem youth from the Middle East and the US and specifically, how they accommodate modernity and the indulgences of exploration within an otherwise traditional society. 
In her words:
“My work deals with Iranians, mostly women. I started with my “Moslem Youth” series. I traveled to Iran many times and became very interested in the interactions between young women and their environment, as well as their interactions with each other. At that time, I don’t think young Muslim women were depicted. Of course, I saw many images like mine from other artists later. But at that time it was well received because people had no idea. I sort of opened up these very closed contemporary lives of Iranian teenagers, and because I was a woman I could photograph these young women.”



Una poesia per il futuro:

“Era bella perché le qualità della sua presenza e del suo ascolto facevano emergere chi si avvicinava. 
Aveva questo modo di spogliare le persone dall'imbarazzo di essere se stesse per restituirle alla loro parte più viva, più autentica, più segreta. 
Forse questo è il modo giusto di amare il prossimo“
YSL adv 1999 - 2000

Deborah Tuberville,
A broken gaze on reality.

A couple of words about the photographer Deborah Tuberville, a subject that is always worth remembering (and even discussing). Born in 1932 in Massachusetts, Tuberville rose to prominence in the 1970s with a style that was soft, mysterious and full of atmosphere. At a time when fashion images communicated strong glamour perfection, her practice evolved really quietly, with a particular attention for photo-editing and atmosphere. Her seminal work is titled Bathhouse: set in crumbling, ghostlike interiors, it offered an entirely new gaze on femininity. In 1981, Jacqueline Kennedy Onassis asked her to photograph the Palace of Versailles. The result was Unseen Versailles, a haunting and beautiful book that won an American Book Award the same year.

These are my grandfather’s sheet music scores. Some pages still have his handwritten notes on them. He used to play them on his grand piano, which looked like a spaceship. I don’t know if it’s a weird thing to say, but every time I write something on paper, I secretly hope someone will read it one day. And since he seemed to be just as egocentric as I am, I like to think he left those notes on purpose, hoping someone would find them.


Nella Roma del boom economico, tutti volevano che fossi un'idea, e tu sei diventata te stessa. In una città chiassosa e piena di contrasti, la tua ingenuità è la tua luce, la tua curiosità la tua forza. Ho sempre pensato di dover invecchiare prima del tempo, raccontarmi vissuta ed esperta di tutti i fatti del mondo, ma non è la cosa giusta da fare. Io la conoscevo bene mi ha ricordato quanto è bello vedere le cose per la prima volta – che non è solo una condizione – è un privilegio. Spero di avere ancora tante cose da vedere per la prima volta.

In the Rome of the economic boom, everyone wanted you to be an idea, but then you became yourself. In a city that is noisy and full of contrasts, your innocence is your light, and your curiosity is your strength. I always thought I had to grow up quickly and to present myself as someone extremely experienced in all the world’s matters, but that’s not the right way.
Io la conoscevo bene  reminded me of how beautiful it is to see things for the first time – and it's not just a condition, it's a privilege. I saw myself in Adriana and felt a certain tenderness toward myself. I hope there are still many things left for me to see for the first time.


I recently had the opportunity to visit an incredible exhibition in Trieste titled “Fotografia Wulz. Trieste, la famiglia, l’atelier” , dedicated to the pioneering photographic work of the Wulz family. My attention was mostly captured by Wanda Wulz, the granddaughter of Giuseppe Wulz (who founded the family’s studio in 1868). Wanda, alongside her sister Marion, carried on the family legacy after their father's passing in 1928, managing the studio until their retirement in 1981. Wanda Wulz is particularly famous for her work in portrait photography, togheter with her involvement in the Italian Futurist movement in the 1930s. One of her most iconic works is the self-portrait Io + gatto (Cat and I) from 1932, which combines images of her face and that of her cat, resulting in a surreal, dreamlike image. Oh, to be a young artist in the 30s, dancing in Trieste in the house of Marion and Wanda Wulz, togheter with Anita Pittoni and all these amazing women...

I discovered this exhibition hosted by the Barbican Art Gallery in July 2020 and I think it’s really relevant and interesting. “Masculinities: Liberation throught photography” offers a complex exploration of how masculinity has been experienced, performed, coded, and socially constructed, as captured through photography and film from the 1960s to the present day. I took some time to research more about the exhibition, which features over 300 works by more than 50 pioneering international artists, photographers, and filmmakers, including names such as Richard Avedon, Peter Hujar, Robert Mapplethorpe, and Annette Messager, togheter with some younger and lesser-known artists, some of whom are exhibiting in the UK for the first time (Cassils, Elle Pérez, and Hank Willis Thomas...). Through its six thematic sections, the exhibition delves into diverse and intricate representations of masculinity, touching on themes like identity, body, power and fatherhood, hypermasculinity and patriarchy. Masculinity is not as a fixed idea, but as a concept shaped by cultural and social forces.  
There’s always some noise in my head. When the space gets too quiet, I start to feel sad (even a little empty). That’s why I’m always listening to something. 
Here’s a selection of my favorite podcasts. I truly love them; they are engaging, insightful, and (really) well-done.

For the morning:
L’Heure du Monde (news, by Le Monde), in french
Now What (daily commentary, by Mia Ceran), in italian
  
For the afternoon:
Stories (narrative storytelling, by Cecilia Sala), in italian 
Modern Love (heartfelt essays on relationships, by The New York Times), in english
  
For the evening:
Indagini (true crime, by Stefano Nazzi), in italian
Globo (history and geopolitics, by Eugenio Cau), in italian
For everytime:
Stylezeitgest, by Eugene Rabkin 
Dressed: The History of Fashion by April Calahan and Cassidy Zachar
Podcasts for everyday life 
I wrote a short essay on the second wave of feminism and the desire to fight fashion, beauty and femininity. In my research, I discovered a lot of things. 
The first is that in 1969 a group of women gathered outside the Miss America beauty pageant and decided to protest by throwing their bras (and many other feminine items) into a bin, which they later called the "Freedom Trash Can." The second is that in 1963 an American writer named Betty Friedan wrote a book titled The Feminine Mystique, explaining something that she defined "the problem that has no name." This problem was a “malaise” affecting seemingly happy women, housewives with perfect lives, mothers of families. The issue was that they felt depressed, and empty, but most of all, unsure of the meaning of their existence. In her book, Friedan suggests that the root of this problem was their lack of freedom, self-determination, and personal fulfillment. There are some other interesting things I discovered, all connected to feminism and this notion that in order to empower oneself, women must necessarily abandon femininity, beauty, and aesthetics. Some argue that rejecting traditional beauty standards is the only way to escape the societal expectations, while some others reclaim beauty and fashion as tools of power and self-expression. This tension between rejecting and reclaiming beauty is interesting and complex, and I feel it’s extremely relevant also today. There’s so much more to explore in this discussion, but I don’t want to make it overly long. To conclude: beauty it’s either a trap or a weapon, there’s never going to be neutrality in it.