The Homeland of Itzurza, the women of the novel by Alessio Vagaggini

The Homeland of Itzurza (La Patria di Itzurza in Italian) is the first novel by Alessio Vagaggini. The book has been published by Chance Edizioni in 2021.

The History, the stories, and women. The first has a strong and authoritarian voice, the seconds play a secondary role in the wider history, the thirds just get lost on the way.

But this book is not (just) about the events of a specific era, this is a novel. The three elements converge all along with the tale around four women, the main characters of the novel: Itzurza, Maria, Elena, and Clara. These women – so different between them – will face their identities and their choices in a Spain stuck between the future and the memory of the recent Franco-era which is well-rooted in the society.

The first word of the title – Homeland – indicates the relevance of places. What is the relevance of the location for this novel? Why did you choose Spain?

I have always thought that Spain is a perfect location for a novel because it is a country with a solid cultural connotation and characterized by a series of unresolved conflicts. From the independence issues of Basque and Catalans passing through the nostalgics of Franco’s dictatorship, which still produce effects in today’s society. Spain has always been deeply involved in these terms. This tension reflects well in the interior torments of the women of the novel.

Alessio Vagaggini - la Patria di Itzurza
Alessio Vagaggini - author of the Homeland of Itzurza (la Patria di Itzurza)

The main characters are all women, tell us more about them

“The Homeland of Itzurza” focuses on four female figures, four ordinary women in their lives but unique for the message that each of them wants to launch. The historical context is the background to see these lives living so differently from each other. Itzurza is the archetype of a woman who tries to impose herself in a highly male-dominated society. Through male activities such as war, she will enter a terrorist organization (ETA) and play a leading role.
On the other hand, Maria and Clara have a more “feminine” nature given their closeness to the arts, to the care of their physical appearance, to seduction; many points in common unite them, precisely because it is a mother and a daughter in conflict with each other precisely because they are incredibly similar. Indeed, Maria affirms herself thanks to her talent for acting, becoming the most famous actress in the Kingdom of Spain and, it is said, even reaching the ears of Francisco Franco. On the other side, we have Clara, whose iconic beauty is the first captured aspect, which represents the first pillar in her “rebellion”. The revolt against all traditional values, atheism, the imposition of her excessive sensuality represent the means to break all patterns in a world where she is a prisoner.
Mother and daughter impose themselves on the male world not through an “action” but rather as a “representation” – one with their own art of acting, the other of seduction – by lulling themselves into that position of domination. Still, they constantly chase something giving them a never-ending state of tension. Only the third woman of the family, Elena, will be capable of going over these inner and outer conflicts.


The book is a mosaic of scenes. Is there any you prefer among these?

I tried to make some pieces of the book “cinematic” to allow the reader to identify better with the events. The scenes I care about are the crisis of Matias, Elena’s husband. Due to his wife’s mysterious disease, he comes to the brink of madness like in an Almodovar movie or the dialogue between Itzurza and Miguel in prison. I deliberately inspired this latter by “I Malavoglia” novel when they greet Padron Ntoni at the hospital.
However, the story revolves around the dialogue between Itzurza and Clara, the piece I wrote with the most attention to detail. Here are two girls who are forged by very different life experiences and values. To tell the truth, I really imagined their meeting in the autumn of 2018, when I was in the Plaza Mayor in Madrid and saw these two girls, apparently very different, talking to each other at a bar, in the midst of great confusion. In addition to being the keystone of the novel, I have articulated the foundation of the plot around this scene, which, not by chance, comes to it after a long climax that begins from the very beginning.

Thank you very much, Alessio, both for your time and for the chance of going deeper into the novel with us. And as there is much more to talk about from this book, we will soon talk about it in a Facebook / Instagram live on our channels.

The Homeland of Itzurza (“La Patria di Itzurza”, 2021, Chance Edizioni) is available – to date, only in Italian – at the following links:

La patria di Itzurza

Livia Corbelli and Filippo Paggiarin

la Patria di Itzurza

Chiara Ferragni: why do people follow her?

In recent years, in the Blogmeter, Forbes, Lyst and Financial Times rankings, Chiara Ferragni is the only Italian to be mentioned among the most influential international women in the world of fashion and beyond. Her voice, progressively more reliable, describes the everyday life of a businesswoman, mother, woman and the dreams of a young girl using the tones of positivity, without excluding references to current affairs.

«Art and philosophy have to deal with phenomena, with public figures that have transformed our public space, our contemporary imagination. If there were a spirit of the times, […] Chiara Ferragni would probably be its perfect declination»[1], says Lucrezia Ercoli, speaking of her latest book, Chiara Ferragni. Filosofia di una influencer. With a pop-philosophical perspective of analysis, Ercoli strips the Chiara Ferragni-phenomenon of both the moralistic and apocalyptic visions that make her the symbol of our decadence and the laudatory and hagiographic tendencies that unconditionally elevate her.

But why, like the dandelion with a gust of wind, the influencer spread everywhere in a vast and unpredictable range of action? Two aspects have made the Chiara Ferragni-phenomenon powerful, persuasive and effective: imitation and storytelling. In addition to these aspects, there is the timing of usage of the new media to stand out from the crowd at a time when, as soon as they were created, the possibilities they offered included less ruthless competition than today[2].

Chiara Ferragni and the myth of normality by everywoman

One thing is certain: Chiara Ferragni is a myth. In the age of new media, The Blonde Salad‘s creator offers a model of identification that does not generate inferiority complexes and whose cult is based on the concept of normality, whether real or presumed. «Chiara Ferragni and Fedez’s life is inscribed in the narrative paradigm of normality», writes Lucrezia Ercoli, «no excesses, no perversions, no addictions, no scandals […] The ordinary normality of a couple of young parents unfolding in an extraordinary context»[3], which tickles everyone’s fancy: living in love, playing with your physical imperfections, enjoying simple things. In short, being happy. And the extraordinary context makes it all desirable.

The book "Chiara Ferragni philosophy of an influencer" by L. Ercoli
"Chiara Ferragni filosofie d'une influenceuse" de L. Ercoli

But there is more. The normality of Chiara Ferragni comes at the culmination of a path that reproduces the one of everyman towards the American dream, the one of the average man without exceptional qualities who dreams of succeeding. One fundamental difference: Chiara is a woman and turns the everyman into everywoman, winking (just like her logo) at the machismo that would like women to be mothers first, and only then entrepreneurs. «Chiara embodies the possibility for a woman to “invent a profession without asking for someone’s blessing”»[4], writes Lucrezia Ercoli, quoting Giulia Blasi about the pedagogical inclination of many accusations levelled at Ferragni as a symbol of the fashion world and vacuity. Therefore, Ferragni-everywoman is the comforting embodiment of the common desire to succeed, to be recognised as unique and talented. It is no coincidence that her mantras are «do it yourself» and «want is power», making her a sort of motivational speaker and exemplum. Indeed, while she could not be credible only as a motivational speaker, given the repetition of banal sentences, her achievements fill the gaps in her speeches and give her the status of a living inspiration.

Speaking authentically = Telling a story

Simplicity, accessibility and positivity are the pillars of the influencer’s intimate and almost diary-like narrative. Criticism, negativity and snobbery have no place in the realm of happy endings that elide (or avoid?) conflict, leaving plenty of room for evidence and tautology. Thus, a dress is beautiful simply because it is worn and described as super cute. On the contrary, those interested in a more complex narrative that adds shadows, tears and the unsaid to the light follow (also) Fedez, who can make Chiara’s pink and glittery storytelling “sustainable”. And yet, even when he seems to be ironically detached from that kind storytelling, as if he were a counterpart to his wife, Fedez «fits it perfectly like the missing piece of the puzzle»[5]. For both, the narrative is based on the rhetoric of authenticity, that is the «complex and refined construction»[6] of everyday spontaneity.

The «construction of a grammar of authenticity with the typical language of the contemporary world» makes Chiara Ferragni «more than just a successful marketing phenomenon»[7]. The world’s best-known Italian influencer clarifies a paradigm shift: new technologies have catapulted us into an era, the narrative era, which also seamlessly involves marketing. From brand image, we have moved on to brand story; digital storytelling has become a weapon of mass persuasion that produces a collective fable and binds emotions to it, making it a new cultural product. This is where the Ferragnez narrative comes in, in the subordination of sales to the telling of a story, linking the product to a sentiment thanks to the narrator – to the testimonial, to be precise. «Things are no longer just things […] they turn into sentimental things», into «desires for happiness»[8], writes Ercoli. We too prey to a more or less conscious bovarianism, dream and (pretend to) be someone, imitating his/her style to think ourselves different.

Chiara Ferragni promises you happiness

            Here, then, is the trigger for the process of imitation, born thanks to the action of a language and a behaviour that implies a promise: you too can be an influencer. That is: you too can be happy. With Chiara Ferragni, happiness is the model to which one aspires, even before luxury, celebrity and a thousand designer clothes. It is inclusive happiness, which on the one hand is based on permanence, affection and domesticity, and on the other hand on nomadism, world travel and conferences. Nothing is excluded. Indeed, renouncement does not seem to be present at all because, at the end of the story, there is everything you could want. No matter that things are not precisely so simple and accessible, «Chiara Ferragni embodies a coming-of-age novel (bildungsroman) for a new generation, up to its neck in mass culture and the consumer system. […] A comforting story that responds to the desperate desire, dormant within each one of us, to be unique and accepted, to make a mark in the world, to discover a talent in which to excel and for which to succeed. And finally be happy»[9].

"Chiara Ferragni is more than a good marketing project" - back ofL. Ercoli's book
"Chiara Ferragni is more than a good marketing project" - back of L. Ercoli's book

Ultimately, whether we like it or not, talking about Chiara Ferragni means, to some extent, talking about ourselves, about the «unfinished process of becoming ourselves, of believing in our own desires even if they seem unattainable»[10]. We too live in the public space; we build ourselves up inside and outside of social networks, always trying to shape a personal grammar of authenticity that gives us an image of ourselves as close as possible to what we are or what we would like to be.

  Livia Corbelli


  1. L. Ercoli, Chiara Ferragni. Filosofia di un’influencer, Il Melangolo, Genova, 2020
  2. Lucrezia Ercoli. Chiara Ferragni. Filosofia di una influencer. Il romanzo di formazione contemporaneo, Rai Cultura – Filosofia,


[2] “Chiara Ferragni was the Italian pioneer in a transformation process that was already going on in America: the desacralisation and democratisation of the fashion world, overrun by the ultra-bodies from the web” p. 30

[3] P. 81

[4] p. 106

[5] p. 71

[6] p. 36


[8] p. 63

[9]  pp. 38-39

[10] p. 39

Healthcare Workers are not heroes but models of civilization

Personification of a contemporary Aeneas, during the Covid-19 emergency healthcare workers have been models of pietas, adding a sense of duty to humanity.


It was a Spring of deaths. We brought blooming flowers next to the corpses. We brought flowers with our mind, of course, because it was forbidden to go outside. A Spring of suspense. The feeling no one could deny to have felt was the desire to plan, share, live. But during this stagnation something tireless, crucial – feverish stirred. The work of healthcare workers who, called to action, was being the backbone of a whole country.


During the lockdown and the following months, many words have been pronounced to thank doctors, nurses and all healthcare workers –  dutiful, well-deserved, proper words. Nevertheless, there is one – heroes – used as a simplistic summary of an experience of months. And I think that it depletes humanity underlying an exhausting work done in exceptional and dangerous circumstances. Moreover, it is likely to place vocation above sense of duty, heroes above men.

An episode in book II of Aeneid, which I had the chance to present on an evening in homage to the First Aid of Pesaro (Marche, Italy), helped me to spell out such a line of reasoning.

healthcare workers are modern heroes of literatures

Wanderings and storms haunt Aeneas’ escape from Troy and lead him to the court of Dido, queen of Carthago. There, the survivor tells what happened in that dark dreadful night when Greeks came into the city thanks to the famous Trojan horse.

Aeneas remembers the city on fire, clearly burnt by enemies’ fires and by the terror of massacres, but also the pain of not having understood earlier what was about to happen, the pain of have not listened to those who had made some hypothesis. He remembers a city burnt by the pain of powerless people who had to face the fear of losing loved ones or even themselves. Greeks get into Troy under a new unknown guise and assault it – almost the effect of the pandemic we lived and are still living: on the one hand, feeling frustrated as we were deceived, on the other hand, stubborn as we do not want to lose faith.

Aeneas tells about a very harsh, trampling and bloody battle that seems not to give way to the future. While chaos stirs around and death meanders into streets, everything he can do is just trying to get away. Everything he can do is just trying to save withstanding lives. Aeneas takes up the journey facing many dangers to himself and to others because he wants to take away from the tragedy his father, son, wife and even his servants.

Looking for salvation, Aeneas takes his father on his shoulders and his son by the hand. In this image that ties together three souls there is the thread of life summed up: weaken and fatigued Anchises on his son’s shoulders; little and unaware Iulo who, taken by the hand of his father, tries to follow him; Aeneas who is a son, a father and a man taking more care of others than of himself. Past and future are tied together by the present, which takes action, no matter what struggles, thanks to a hope: whether “danger is sole and common”, then “sole and common is salvation, too”.

During the emergency period, healthcare workers behaved as the personification of a contemporary Aeneas, taking on their shoulders and by the hand ill people, their families and the whole society. They did exactly this: they underwent the burden and tied together the split tatters of a country’s lives – they gave us an active, concrete and resilient demonstration of pietas.

Thanks to their pietas, healthcare personnel added a deep sense of responsibility to the love for their dearest ones, overshadowing their own needs, helping and taking care at the expense of their own health, standing by ill people in all the ways a man can stand by another man – being an example of civilization.

Brave and fearless in clashes with armed warriors, Aeneas shivers in front of the swishing wind when it comes to protect another life in a tragically exceptional circumstance. Aeneas is afraid; he suffers, he strains while he tries not to give up neither his duty nor his hope – to save what is mortal, fragile and precarious. Aeneas is a man above everything else, and only then he is a hero. So, that is why healthcare workers, like Aeneas, cannot be anything else than men and women who are able to put themselves to the service of the society despite fear, pain and danger. They are men and women we need to keep up hope. They are models to think about to behave responsibly until the future opens its arms to us. Also, we should remember Oriana Fallaci’s words in A Man

“spectacular behaviors and private heroisms never change reality: they are shows of individual and shallow pride, actions of romance that exhaust in their own sake because they stay closed within the borders of its uniqueness”.

Oriana Fallcai - A Man


A Man, Oriana Fallaci

Aeneid, Virgil


* All translations of quotes have been made by the author

The digital trend, live events industry and covid-19

Digitalisation has been embedded in the realization of events for years now, but covid-19 has speeded up and expanded such trend. What is the kind of evolution expected?


                      Locked down in our houses for about two months, we have all experienced the power of the online as – trait d’union -, not only between people but also between people and institutions, services, brands… In brief, during the quarantine, the digitalisation became a sort of glue and a tool for the communication of emotions, ideas, information, goods and services. It became the primary channel of people’s participation to the world, the only possible “place” where to conceive, realize and spread events. Let’s give some examples: gyms started online trainings; delivery services got many more requests; although it is a bit restrained by restrictive measures,  the e-commerce made a leap forward, at least in terms of awareness; public figures and experts of any kind offered free courses; not to mention distant-learning and smart-working. Without neglecting some impactful real time marketing campaigns, such as the digital solidarity[1] offered by the government, the shared screen on Netflix or the remotely-shot Vodafone’ spot. Our daily life has been digitalized and it has turned – I’m taking the freedom to say it – into a sum of events.

However, if we want to speak of events, we should turn our attention to other, more interesting, ones.

We can think of cultural initiatives such as #Prendiamolaconfilosofia[2], a live streaming festival organized by Piano B in collaboration with Tlon that connected Italian and international philosophers and influencers. With the same format they also realized the celebration of the Earth Day and that of the Liberation Day (from Fascism), allowing the intervention of the spectators with an open live webcam[3]. We can also think of the launch of new products in an absolutely innovative and unconventional way as the performance of American rapper, Trevis Scott, for his new single inside the video game Fortnite[4]. Or again: the European Council of 23 April, the celebration of Easter, the tribute of Pesaro musicians to Mirko of the iCamillas band[5] – these are just some of all the events that have been digital reconverted. As a direct and, I would say, predictable consequence of the quarantine, this has led to further consequences in a sort of chain effect that calls for reflection on the future.

the tribute of Pesaro musicians to Mirko of the iCamillas band, who died of Covid-19

April 2020 Digital Report available on We are social aims to give a global overview about the trend of this “digitalisation” (the report is based on surveys carried out in almost all over the world, considering users from 16 to 64 years old[6]). The report highlights the widespread and constantly increasing use of the online with respect to both the number of users and the amount of time spent on devices. Digital activities range from the most popular, such as watching streaming movies and using social networks, to relevant others, such as using messaging platforms and listening to music. Then, there also are gaming, videomaking, podcasting. Concerning contents, the digital feature is closely linked to the possibility of information; nevertheless, some of the most required contents are tutorials, funny videos, memes and replicas of tv shows and sporting events. Interesting is the fact that many users intend to carry on the new behaviours at the end of social distancing, impacting both social relations and the type of entertainment and communication sought and requested.

At the threshold of the “Phase 2″ where it is now clear that no gatherings will be allowed, these data are more important than ever for rework and re-think of events, respecting the rules and satisfying the demand. Taking advantage of the digital trend, it will be necessary to develop a proposal with valid content and tailor-made, engage users and keep costs reduced, preparing for a reversal of the trend of some current behaviours, such as video calling and online spending, and to face greater challenges to the reopening, such as the climate change problem. Creativity and pragmatism will have to guide the creation of new formats – as Live Streaming 24 and Interactive Events 24 of 24OreEvents[7] – and new methods of fruition, in an attempt to plug the problems related to the monetization of digital events and the cancellation of others, such as concerts, impossible to reproduce with compromise solutions. In general, it will tend to maintain the line of social distancing both on the short-term – turning sports into e-sports or promoting branding values instead of the promotional one – and on the long-term – starting to design private live experiences or new contactless methods.

Can all this be enough to let the live events industry survive?

Of course not, even because this industry keeps together many different realities (including cinemas, theatres, exhibition spaces, etc…) with equally different needs. But they have a common element: the live experience, impossible to give through digital tools. The problem arises from the fact that the live experience is still a dream right now. So, what to do while waiting for the reopening but lacking certain dates and official indications to reassure, especially economically, the thousands of workers in this sector?

Data from AstraRicerche, available on ADC Group website, highlight that 30% of events has already been cancelled, 21,5% is at risk to be and only 14% has been postponed. Also, the reopening will not happen before October, provoking a loss of 50% of turnover for 74% of those involved[8].

In this regard, an initiative has been created and promoted by the Club of Events and the Live Communication, Events & Live industry #Italialive[9], which intends to make the voice of the live-events industry heard by the Government[10]. It is, in fact, a strategic sector of the Italian economy that must be valued in all its forms: about 1 million small and big events are organized every year, moving 56.4 million people who participate. Yesterday, 27 April, an open letter has been sent to the Government and signed by all those who joint #ItaliaLive, aiming to suggest and make certain a series of proposals available on their website. In the next weeks, we will see if and when this initiative, largely spread on social media, takes any effect. And now, let’s go to enjoy another live speech on Instagram!

Livia Corbelli

Links to further readings and contents (in Italian):

– music industry move together:

– Marco Jannarelli, Presidente Next Group, on live entertainment industry:

– Salvatore Sagone at SkyTG24 talking about live entertainment industry:


[2] The Italian for “be philosophical”, “take it easy”

[3]  ,

[4] ,







The social culture and its leftovers: the Manduria’s (Italy) baby gang case

Do you remember the Stano affaire happened in Manduria (Apulia, Italy)? It was not long time ago when a baby gang haunted Antonio Stano, dead in April. After his death, they discovered that the pensioner was not the only victim of this group and that the roughly clear knowledge of violence went beyond this little group of young people committing them, many other people were aware.

During these months, I read several articles reporting news about this fact: I have been touched by some expressions as “checking for silence”, “confirmed culture”, “criminality”. This kind of events must not be minimized, on the contrary we must say that they represent the most explosive outburst – so, the most (apparently) unexpected and destructive outburst – coming from a cultural substratum rotten for a long time and, still, not uprooted, no matter how much directly stoked.

            Stano the mad, Stano the weirdo, Stano the solitary – Stano was a man who was subdued to the violence much earlier than that moment when the youngsters raised their hands on him. A violence that melts with the silence and acceptance of the status quo: sometimes due to the lack of the courage to change it, sometimes due to its hidden subscription. Antonio Stano is an example of forgotten leftovers’ destiny in this country: they are the embodiment of a crisis to get through – but it’s a crisis concerning the contrast between greatness dressed with arrogance and inadequacy, fragility, deficiency. These problems are the ones no one actually want to realize so not to engage in the seek for solutions, a self-defence for keeping on feeling good and – above all – powerful, stating a social order where the weakness that falls out of what is considered to be “normal” is not allowed. In this country, the forgotten leftovers are scapegoat. In this way, the retiree from Manduria is a pharmakos.

            In Plato’s pharmacy, Derrida talks about pharmakos as someone excluded from the social space and defined by a double ambivalent nature of cure and poison : his singularity discloses society’s ailing side letting inadequacies and anomalies emerge and, for this reason, he “must die”. So, Stano-the-outsider is a man becoming a man – which means someone who is recognized as a human being – only when forever gone. Stano dies for real, but in general the “must die” identifies the need of not to trouble the social order and this – in Italy – happens with anyone being a part of troublesome social categories (I could mention the homosexuals, the disabled, the immigrants… but what would this mean after all?). Nevertheless, always taking Derrida as reference, what is not openly said is that pharmakos’ life as we described it is fostered by the social community itself. It needs to face the pharmakos in order to silence him and, thus, keeping power and cohesion – both more or less aware final aims of a society gripped by a collective neurosis leading to constantly feel under attack. In this way, diversity is the top threat.

            Here is then, if we want to talk about “confirmed culture”, we have to have a 360° thinking and to wonder which culture we are talking about. In this case, we could fairly enough say “the culture of pharmakos”, but in the most bare and devious sense which do not hold anything of its ancient holiness.

We are in the midst of a sacrificial crisis (Violence and the sacred, Girard) where we are struggling with the detection of types of violence and where we enable impure, infectious and mutual violence to spread all around. This means we are in the midst of a crisis of difference concerning the cultural order in general, so that machismo and intolerance become the expression of a kind of power which wants to be shown. And the more this expression of power is spread, the more it feeds the ego and the prestige of the one performing it. A prestige that never gets to be an attribute of the one committing the violence, this being because his condemn (if not just for simple moralism) moves faster than him especially when it comes from an authority that is socially (and politically) higher.

The Manduria’s baby gang in a picture from the Italian Police

Is it clear the paradox? The sneaky game made of incentivating and hitting the problem? The Manduria’s baby-gang performed a criminal action. Despite being a despicable and condemned one, nevertheless it has its roots in the fertile ground of a social and cultural context that keeps on stigmatising deviances and weaknesses without integrating nor solving, but fostering them increasing the space in between.

Being reached this point, if the pharmakos was the “cure-posion” tool used by the community to keep its cohesion, today it seems it no longer belongs to the to the community (being the sense of community lost nowadays) but to the individual that needs these behaviors to find oneself. This, anyway, means not to get out of one’s own perimeter. Hence, maybe, the root problem leading us to reach a new, powerful, different and effective reaction to this violent individualism is “what is the meaning of the community today?”

Livia Corbelli

– Derrida J., The Pharmacy of Plato in « The dissemination », Paris, Collection ‘Tel Quel’ at Editions du Seuil, 1972

– Girard R., The violence and the sacred, Paris, Pluriel, 2010



Chiara Ferragni: perchè la seguiamo?

Nelle classifiche di Blogmeter, Forbes, Lyst, Financial Times degli ultimi anni Chiara Ferragni si posiziona, unica italiana, tra le donne internazionali più influenti nel mondo della moda e non solo. La sua voce, progressivamente sempre più autorevole, racconta una quotidianità di imprenditrice, madre, donna e i sogni di ragazzina con i toni della positività, senza escludere i riferimenti all’attualità.

«L’arte e la filosofia devono confrontarsi con i fenomeni, con i personaggi che hanno trasformato il nostro spazio pubblico, il nostro immaginario contemporaneo. Se esistesse uno spirito del tempo, […] probabilmente Chiara Ferragni ne sarebbe la perfetta declinazione»[1], afferma Lucrezia Ercoli parlando del suo ultimo libro, Chiara Ferragni. Filosofia di una influencer. Con una prospettiva di analisi pop-filosofica, Ercoli sfronda il fenomeno Chiara Ferragni sia dei moralismi e delle visioni apocalittiche che ne fanno il simbolo della nostra decadenza sia dell’elogio e della tendenza agiografica che lo elevano incondizionatamente.

L. Ercoli su Chiara Ferragni, link al video di RaiCultura nelle note
L. Ercoli su Chiara Ferragni, link al video di RaiCultura nelle note

Ma perché, come il soffione o dente di leone, con un colpo di vento l’influencer si è diffusa dappertutto con un raggio d’azione vasto e imprevedibile? Due gli aspetti che hanno reso il fenomeno Chiara Ferragni così potente, persuasivo ed efficace: imitazione e narrazione. A questi si aggiunge il tempismo dell’uso di nuovi strumenti di comunicazione per emergere dalla massa in un periodo in cui, appena nati, le possibilità che essi offrivano contemplavano una concorrenza meno spietata di quella odierna[2].

Chiara Ferragni e il mito della normalità di everywoman

Un fatto è certo: Chiara Ferragni è un mito. Nell’epoca del web, la creatrice di The Blonde Salad offre un modello di identificazione che non genera complessi di inferiorità e il cui culto è fondato sul concetto di normalità, reale o presunta che sia. «La vita di Chiara Ferragni e Fedez è iscritta nel paradigma narrativo della normalità – scrive Lucrezia Ercoli – nessun eccesso, nessuna perversione, nessuna dipendenza, nessuno scandalo […] La normalità ordinaria di una coppia di giovani genitori che si dispiega in un contesto straordinario»[3] e che solletica il taciuto di ognuno: vivere nell’amore, giocare con le proprie imperfezioni fisiche, godersi le cose semplici, insomma essere felici. E il contesto straordinario rende il tutto assolutamente desiderabile.

Ma c’è di più. La normalità di Chiara Ferragni giunge al culmine di un percorso che riproduce quello di everyman verso l’American dream, quello dell’uomo medio senza qualità eccezionali che sogna di emergere. Con una differenza fondamentale: Chiara è donna e trasforma l’everyman in everywoman, strizzando l’occhio (proprio come il suo logo) ai maschilismi che vorrebbero le donne prima di tutto madri, e solo poi imprenditrici. «Chiara incarna la possibilità per una donna di “inventarsi una professionalità senza chiedere la benedizione di qualcuno”»[4], scrive Lucrezia Ercoli citando Giulia Blasi a proposito dell’inclinazione pedagogica che permea molte accuse rivolte alla Ferragni come emblema del mondo della moda e della vacuità. Ferragni-everywoman è, quindi, l’incarnazione confortante del comune desiderio di farcela, di essere riconosciuti unici e talentuosi. Non a caso i suoi mantra sono “do it yourself” e “volere è potere” e fanno di lei una sorta di motivational speaker e di exemplum. Infatti, se soltanto come motivational speaker non potrebbe essere credibile considerata la reiterazione di frasi banali, i traguardi raggiunti colmano le lacune dei suoi discorsi e le conferiscono lo status di ispirazione vivente.

Parlare autentico = Raccontare una storia

Semplicità, accessibilità e positività sono i pilastri del racconto intimistico, quasi diaristico, dell’influencer. Critiche, negatività e snobismo non trovano spazio nel regno dell’happy ending che elide (o elude?) il conflitto, lasciando invece ampio spazio alle evidenze e alle tautologie. Così, un vestito è bello per il semplice fatto che viene indossato e descritto come super cute. Al contrario, chi è interessato a una narrazione più complessa che alla luce aggiunge le ombre, le lacrime, il non detto segue (anche) Fedez, capace di rendere “sostenibile” lo storytelling rosa e glitterato di Chiara. Eppure, anche quando sembra distaccarsene ironicamente quasi fosse un contraltare della moglie, Fedez «vi aderisce perfettamente come il tassello mancante del puzzle»[5]. Per entrambi la narrazione si fonda sulla retorica dell’autenticità, cioè sulla «costruzione complessa e raffinata»[6] della spontaneità quotidiana.

La «costruzione di una grammatica dell’autenticità con il linguaggio tipico del mondo contemporaneo» fa di Chiara Ferragni «più di un mero fenomeno di marketing di successo»[7]. L’influencer italiana più conosciuta del mondo descrive un cambio di paradigma: le nuove tecnologie ci hanno catapultato in un’epoca, l’epoca narrativa, che coinvolge senza soluzione di continuità anche il marketing. Dalla brand image si è passati alla brand story; il digital storytelling è divenuto un’arma di persuasione di massa che produce una favola collettiva e ad essa lega emozioni che la rendono un nuovo prodotto culturale. È qui che si inserisce la narrazione dei Ferragnez, nella subordinazione della vendita al racconto di una storia, legando il prodotto al sentimento grazie al narratore – al testimonial, per meglio dire. «Le cose non sono più solo cose […] si trasformano in cose sentimentali», in «desideri di felicità»[8], scrive Ercoli. Anche noi, prede di un più o meno consapevole bovarismo, possiamo sognare e (fingere di) essere qualcuno, imitandone lo stile per pensarci diversi.

L. Ercoli " Chiara Ferragni : filosofia di un'influencer"
Il retro del libro di L. Ercoli "Chiara Ferragni: filosofia di un'influencer"

Chiara Ferragni ti promette la felicità.

Ecco, allora, innescato il proprio processo di imitazione, nato con l’azione di un linguaggio e di un comportamento che sottendono una promessa: anche tu puoi essere un/una influencer, cioè anche tu puoi essere felice. Con Chiara Ferragni è la felicità il modello a cui si aspira, prima ancora del lusso, della celebrità, dei mille capi firmati. E si tratta di una felicità inclusiva che vive da un lato della stanzialità, degli affetti e del focolare domestico e dall’altra del nomadismo, dei viaggi per il mondo, delle conferenze: niente è escluso, anzi la rinuncia sembra non essere affatto presente poiché, alla fine della storia, c’è tutto quello che si può desiderare. Poco importa che le cose non siano esattamente così semplici e accessibili, «Chiara Ferragni incarna un romanzo di formazione per nuove generazioni, immerso fino al collo nella cultura di massa e nel sistema dei consumi. […] Una storia confortante che risponde al desiderio disperato, sopito dentro ciascuno di noi, di essere unici e riconoscibili, di lasciare un segno nel mondo, di scoprire un talento in cui eccellere e per il quale avere successo ed essere, finalmente, felici»[9].

In ultima istanza, che ci piaccia o meno, parlare di Chiara Ferragni significa, in qualche misura, parlare di noi, del «processo inconcluso di diventare se stessi, di credere nei propri desideri anche se sembrano irrealizzabili»[10]. Anche noi viviamo nello spazio pubblico, ci costruiamo dentro e fuori dai social, sempre cercando di dar forma ad una personale grammatica dell’autenticità che restituisca di noi un’immagine quanto più possibile aderente a ciò che siamo o a ciò che vorremmo essere.

                                                                                                                                    Livia Corbelli


  1. L. Ercoli, Chiara Ferragni. Filosofia di un’influencer, Il Melangolo, Genova, 2020
  2. Lucrezia Ercoli. Chiara Ferragni. Filosofia di una influencer. Il romanzo di formazione contemporaneo, Rai Cultura – Filosofia,




[2] «Chiara Ferragni è stata la pioniera italiana di una trasformazione già in atto oltreoceano: la desacralizzazione e la democratizzazione del mondo della moda invaso dagli ultracorpi del web» p. 30

[3] P. 81

[4] p. 106

[5] p. 71

[6] p. 36


[8] p. 63

[9] pp. 38-39

[10] p. 39

Chiara Ferragni: pourquoi la suit-on?

Dans les classements de Blogmeter, Forbes, Lyst et du Financial Times ces dernières années, Chiara Ferragni est la seule italienne à être placée parmi les femmes internationales les plus influentes dans le monde de la mode et au-delà. Sa voix, de plus en plus influente, raconte le quotidien d’une entrepreneuse, d’une mère, d’une femme ainsi que les rêves d’une jeune fille sur un ton toujours positif, sans exclure les références à l’actualité.

«L’art et la philosophie ont affaire à des phénomènes, à des personnages qui ont transformé notre espace public, notre imaginaire contemporain. S’il y avait un esprit du temps, […] Chiara Ferragni en serait probablement la parfaite déclinaison»[1], dit Lucrezia Ercoli en parlant de son dernier livre, Chiara Ferragni. Philosophie d’une influencer. Dans une perspective d’analyse pop-philosophique, Ercoli dépouille le phénomène Chiara Ferragni à la fois du moralisme, des visions apocalyptiques qui font d’elle le symbole de notre décadence et des tendances hagiographiques qui l’élèvent inconditionnellement.

Mais pourquoi, comme le pissenlit, avec un coup de vent, l’influence s’est répandue partout dans un champ d’action vaste et imprévisible ? Deux aspects ont rendu le phénomène Chiara Ferragni si puissant, persuasif et efficace: l’imitation et la narration. À cela s’ajoute le timing d’utilisation des nouveaux outils de communication pour se distinguer de la foule à un moment où, dès leur naissance, les possibilités qu’ils offrent envisagent une concurrence moins impitoyable qu’aujourd’hui[2].

L. Ercoli parle de " Chiara Ferragni : philosophie d'une influenceuse "
L. Ercoli parle de " Chiara Ferragni : philosophie d'une influenceuse " . Lien au vidéo dans les notes

Chiara Ferragni: le mythe de la normalité d’everywoman

Une chose est sûre : Chiara Ferragni est un mythe. À l’ère du web, le créatrice de The Blonde Salad propose un modèle d’identification qui ne génère pas de complexes d’infériorité et dont le culte est basé sur le concept de normalité, qu’elle soit réelle ou présumée. «La vie de Chiara Ferragni et de Fedez s’inscrit dans le paradigme narratif de la normalité – écrit Lucrezia Ercoli – sans excès, sans perversions, sans addictions, sans scandales […] La normalité ordinaire d’un couple de jeunes parents qui se déroule dans un contexte extraordinaire»[3] et qui chatouille le désir commun : vivre dans l’amour, jouer avec ses propres imperfections physiques, jouir des choses simples, bref, être heureux. Et le contexte extraordinaire rend tout cela absolument souhaitable.

Mais il y a plus. La normalité de Chiara Ferragni est l’aboutissement d’un chemin qui reproduit celui d’everyman vers l’American dream, celui de l’homme moyen sans qualités exceptionnelles qui rêve d’émerger. Avec une différence fondamentale : Chiara est une femme et transforme everyman en everywoman, faisant un clin d’œil (tout comme son logo) au chauvinisme masculin qui voudrait que les femmes soient d’abord des mères, et ensuite seulement des entrepreneuses. «Chiara incarne la possibilité pour une femme “d’inventer une profession sans demander la bénédiction de quelqu’un”»[4], écrit Lucrezia Ercoli en citant Giulia Blasi à propos de l’inclination pédagogique qui imprègne de nombreuses accusations portées contre Ferragni en tant qu’emblème du monde de la mode et de la vacuité. Ferragni-everywoman est donc l’incarnation réconfortante du désir commun de réussir, d’être reconnus comme uniques et talentueux. Ce n’est pas un hasard si ses mantras sont «do it yourself» et «vouloir, c’est pouvoir» et font d’elle une sorte de motivational speaker et d’exemplum. En fait, si en tant que motivational speaker elle ne pourrait pas être crédible étant donné la répétition de phrases banales, les succès comblent les lacunes de ses discours et lui confèrent le statut d’inspiration vivante.

Parler de manière authentique = Raconter une histoire

Simplicité, accessibilité et positivité sont les piliers de la narration intime, presque diaristique, de l’influenceur. La critique, le négativisme et le snobisme n’ont pas leur place dans le domaine du happy ending qui permet d’éviter (ou d’éluder ?) les conflits, laissant au contraire une large place à l’évidence et à la tautologie. Ainsi, une robe est belle simplement parce qu’elle est portée et décrite comme super cute. Au contraire, ceux qui s’intéressent à un récit plus complexe qui ajoute des ombres, des larmes et des non-dits à la lumière suivent (aussi) Fedez, qui est capable de rendre “supportable” le récit rose et scintillant de Chiara. Et pourtant, même lorsqu’il semble s’en détacher ironiquement, comme s’il était le contrepoint de sa femme, Fedez « y adhère parfaitement comme la pièce manquante du puzzle »[5]. Pour les deux, le récit est basé sur la rhétorique de l’authenticité, c’est-à-dire sur la « construction complexe et raffinée »[6] de la spontanéité quotidienne.

La « construction d’une grammaire de l’authenticité avec le langage typique du monde contemporain » fait de Chiara Ferragni « plus qu’un simple phénomène de marketing réussi »[7]. L’influenceuse italienne la plus connue au monde décrit un changement de paradigme : les nouvelles technologies nous ont catapultés dans une ère, l’ère narrative, qui implique aussi le marketing. De la brand image, nous sommes passés à la brand story; le digital storytelling est devenu une arme de persuasion de masse qui produit une fable collective et y lie des émotions, ce qui en fait un nouveau produit culturel. C’est là que s’inscrit le récit des Ferragnez, dans la subordination de la vente à la narration d’une histoire, liant le produit au sentiment grâce au narrateur – au testimonial, pour être plus précis. « Les choses ne sont plus seulement des choses […] elles se transforment en choses sentimentales », en « désirs de bonheur »[8], écrit Ercoli. Nous aussi, en proie à un bovarisme plus ou moins conscient, nous pouvons rêver et (pretendre ) être quelqu’un, en imitant son style pour nous penser différents.

The book "Chiara Ferragni philosophy of an influencer" by L. Ercoli
"Chiara Ferragni filosofie d'une influenceuse" de L. Ercoli

Chiara Ferragni: je vous promets le bonheur.

Voici, donc, le déclencheur du processus d’imitation, né avec l’action d’un langage et d’un comportement qui impliquent une promesse : vous aussi pouvez être des influenceurs, c’est-à-dire que vous aussi pouvez être heureux. Avec Chiara Ferragni, le bonheur est le modèle auquel on aspire, avant même le luxe, la célébrité, les mille vêtements de créateurs. Et c’est un bonheur inclusif qui vit d’une part dans la permanence de l’affection et du foyer, et d’autre part dans le nomadisme, les voyages à travers le monde, les conférences : rien n’est exclu, au contraire le renoncement semble ne pas être présent du tout car, à la fin de l’histoire, il y a tout ce que l’on peut désirer. Peu importe que les choses ne soient pas aussi simples et accessibles,«Chiara Ferragni incarne un roman d’apprentissage pour les nouvelles générations, immergé jusqu’au cou dans la culture de masse et le système de consommation. […] Une histoire réconfortante qui répond au désir désespéré, qui sommeille en chacun de nous, d’être unique et reconnaissable, de laisser une trace dans le monde, de découvrir un talent dans lequel on peut exceller et avec lequel on peut réussir et enfin être heureux »[9].

En fin de compte, qu’on le veuille ou non, parler de Chiara Ferragni signifie, dans une certaine mesure, parler de soi-même, du « processus inachevé de devenir soi-même, de croire en ses désirs même s’ils semblent inaccessibles »[10]. Nous aussi, nous vivons dans l’espace public, nous nous construisons à l’intérieur et à l’extérieur des réseaux sociaux, en essayant toujours de façonner une grammaire personnelle d’authenticité qui nous donne une image de nous-mêmes aussi proche que possible de ce que nous sommes ou de ce que nous voudrions être.

                                                                                                            Livia Corbelli


  1. L. Ercoli, Chiara Ferragni. Filosofia di un’influencer, Il Melangolo, Genova, 2020
  2. Lucrezia Ercoli. Chiara Ferragni. Filosofia di una influencer. Il romanzo di formazione contemporaneo, Rai Cultura – Filosofia,


[2]  «Chiara Ferragni è stata la pioniera italiana di una trasformazione già in atto oltreoceano: la desacralizzazione e la democratizzazione del mondo della moda invaso dagli ultracorpi del web» p. 30

[3] P. 81

[4] p. 106

[5]  p. 71

[6] p. 36


[8] p. 63

[9] pp. 38-39

[10] p. 39

Pubblicato “Primi Passi” – il primo libro di Livia Corbelli

Il 9 Marzo è stato pubblicato Primi Passi, il primo libro di Livia, fondatrice e autrice di questo blog. Noi di Jeune Europe siamo molto felici e orgogliosi del suo traguardo; speriamo che questo libro possa essere per voi un invito alla lettura, alla riflessione, alla pausa necessaria.

Livia, anzitutto dicci tu cosa è Primi Passi

Primi passi è certamente una raccolta di poesie, ma è anche una forma di consapevolezza del proprio sentire. Direi che si tratta di un modo di intendere la propria ferita, considerandola un varco, un invito a scendersi dentro. Così facendo, si attribuisce valore al suo bruciare, senso al suo esistere. Ma Primi passi è anche e soprattutto un sogno che si realizza, sebbene io non sia mai stata una sognatrice in senso stretto. Eppure, spesso nel corso degli anni mi sono trovata ad immaginare come sarebbe stato se qualcuno avesse tenuto in mano le mie parole, che cosa avrei saputo trasmettere e come mi sarei sentita. Ora è successo – cos’ho saputo trasmettere aspetto per dirlo, come mi sento lo so: incredula e felice.

Come – ma pure dove e quando! – è nato?

Non c’è un tracciato preciso, né metodico né spazio-temporale. Ho sempre scritto quando sentivo che qualcosa doveva uscire, ciò significa che potevo trovarmi in qualsiasi luogo e in qualsiasi momento: si trattava di non bloccare un pensiero. L’idea della silloge poetica è nata in seguito quando, rileggendo – come spesso faccio – le poesie che avevo accumulato nel corso di un paio d’anni, mi sono resa conto che costituivano un insieme coerente e sensato.

Come mai la scelta di pubblicare in italiano e in francese?

Non è stata una vera scelta; direi piuttosto che è stata una presa d’atto: quando dico che mi sono resa conto della coerenza e sensatezza dell’insieme delle mie poesie mi riferisco sia a quelle in italiano che a quelle in francese. In fondo, fanno parte di uno stesso viaggio, nascono dallo stesso bisogno di espressione.

Quando è che ti ritrovi a scrivere? Come nascono queste poesie?

Diciamo che, in generale, mi servono momenti di solitudine e di silenzio, dei momenti di pausa, direi. Di solito sono quelli i momenti in cui i pensieri e le sensazioni che ho raccolto nella frenesia dei giorni tornano a bussare alla mia porta.
Come nascono… direi, in due modi: a volte da un’immagine che mi sembra descrivere perfettamente una sensazione e allora cerco di riprodurla a parole; altre volte da una parola o da una frase che, connessa ad una sensazione, mi gira in testa da un po’ e allora cerco di costruire un’immagine intorno a quella. Credo che potrei identificare una “parola-portante” in ogni poesia.

Quale è il tuo rapporto con ciò che scrivi? C’è una delle poesie che hai scritto alla quale ti senti più legata?

E’ un rapporto di grande intimità; e questo è ciò che rende bello e spaventoso consegnare le proprie parole agli altri.
Mi sento legata a molte poesie, non saprei dirne una senza legarla ad altre. Però, se proprio devo, questa può essere una di quelle:

Gatta , raccolta in una spossatezza baritonale,
seguo a dito i contorni del mio corpo
con lentezza attenta e circospetta:
tasto il tempo che cambia.
Il pelo sul cuore e il mutamento della carne
– li assaporo poco a poco.

Nell’ombra lunga di quello che c’è
e di quello che non c’è, allungo la schiena,
allargo le dita dei piedi, scrocchio quelle delle mani,
modifico il respiro, stringo i glutei,
sfioro i seni, strofino le labbra,
premo sul ventre, accavallo le gambe,
chiudo gli occhi, stringo le spalle –
apro le braccia a croce:
che lo voglia o no, mi appartengo
e finché resto distesa a letto,
al buio, posso essere tutto.
Perdo i contorni mentre il sangue fluisce
tra i bordi delle mie crepe aperte
alla rimarginazione o alla nascita.

Guardarsi con benevolenza
ad occhi chiusi: ritrovar-si
e ritrovare il desiderio è un gioco
serio che può durare tutta la vita.

Hai già idee per il futuro?

Mi piacerebbe continuare a scrivere, chiaramente; e, in parte, lo sto già facendo. Ma siccome scrivere, per me, è un modo per assecondarmi e, quindi, risponde sempre a un’esigenza personale, non credo mi porrò obiettivi troppo rigidi. Non per ora, almeno.

Dove trovarlo?

Nell’attesa di trovarlo in libreria (dove comunque può essere ordinato), si può trovare online ai seguenti link che mettiamo qui sotto.

Cosa vorresti dire a chi sta per aprire il tuo libro?

Prenditi tempo per sentire quello che senti, per lasciarlo scorrere.

Calibano Editore:


Libreria Universitaria:




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