{"id":75715,"date":"2020-03-20T10:52:43","date_gmt":"2020-03-20T09:52:43","guid":{"rendered":"https:\/\/www.fondazionepirelli.org\/?p=75715"},"modified":"2022-04-21T18:46:59","modified_gmt":"2022-04-21T17:46:59","slug":"pink-ink-women-writers-for-pirelli-magazine-2","status":"publish","type":"post","link":"https:\/\/www.fondazionepirelli.org\/en\/activities\/stories-from-world-of-pirelli\/pink-ink-women-writers-for-pirelli-magazine-2\/","title":{"rendered":"Pink Ink: Women Writers for Pirelli Magazine"},"content":{"rendered":"<p>Women and words: the signatures of women whose writings appeared, over the years, in the pages of <em>Pirelli<\/em>\u00a0magazine, a publishing phenomenon that left a profound mark on the culture of the 1950s and 1960s. The first name was that of\u00a0<strong>Milena Milani<\/strong>, an author from Savona, who shot to fame in 1964 with her\u00a0<em>La ragazza di nome Giulio<\/em>, a novel that was banned for \u201coffence against public decency\u201d when it dared to talk of teenage turbulence caused by a bathing costume in Lastex. In\u00a0<em>Pirelli<\/em>\u00a0magazine no. 2 of 1950 her article was entitled \u201c<a href=\"https:\/\/www.fondazionepirelli.org\/archivio-storico\/bookreader\/pubblicazioni-e-riviste\/RivistaPirelli\/1950_2.html?q=&amp;start=43&amp;lang=en#page\/42\/mode\/2up\" target=\"_blank\" rel=\"noopener noreferrer\">Ernesto, a Man. Hevea, a Plant<\/a>\u201d. The same costume was to be worn shortly after by\u00a0<strong>Marilyn Monroe<\/strong>, the American goddess of femininity. And\u00a0<strong>Fernanda Pivano<\/strong>\u00a0took us to America in no. 6 of 1953: no one better than her could talk to post-war Italy about \u201cAmerica\u2019s colossal reforming dream\u201d, from Sherwood Anderson to Francis Scott Fitzgerald and John Steinbeck. The age of Jazz and of the Great Depression, of railways and strikes, settlers and \u2013 of course \u2013 Marilyn. But Lastex swimwear was soon back, in\u00a0<strong>Gianna Manzini<\/strong>\u2019s \u201c<a href=\"https:\/\/www.fondazionepirelli.org\/archivio-storico\/bookreader\/pubblicazioni-e-riviste\/RivistaPirelli\/1956_4.html?q=&amp;start=42&amp;lang=en#page\/42\/mode\/2up\" target=\"_blank\" rel=\"noopener noreferrer\">Women by the Sea<\/a>\u201d in\u00a0<em>Pirelli<\/em>\u00a0magazine no. 4 of 1956. Women \u201cwho feel their power to be absolute, who are free, who put to one side their daily duels along with their daily victories\u201d.<br \/>\n<strong>Armanda Guiducci<\/strong>\u00a0gives us a critical look at modernity in no. 6 of 1960. In \u201c\u2018<a href=\"https:\/\/www.fondazionepirelli.org\/archivio-storico\/bookreader\/pubblicazioni-e-riviste\/RivistaPirelli\/1960_6.html?q=&amp;start=56&amp;lang=en#page\/56\/mode\/2up\" target=\"_blank\" rel=\"noopener noreferrer\">Architect\u2019 Stores<\/a>\u201d, the Neapolitan writer looks at the then-growing phenomenon of large-scale retailing, entering \u201cinto the heart of the problem of consumerism, in which, after needs have been satisfied, the idea of the useful is increasingly associated with that of pleasure\u201d. The fame of\u00a0<em>La mela e il serpente<\/em>\u00a0was still fifteen years in the future, but in\u00a0<em>Pirelli<\/em>\u00a0magazine Guiducci was already showing her wisdom as a philosopher and sociologist.<\/p>\n<p>The Cinturato, the revolutionary Pirelli tyre, burst onto the scene in 1966. It was given enduring fame in the film\u00a0<em><a href=\"https:\/\/www.fondazionepirelli.org\/archivio-storico\/audiovisivi\/detail\/IT-PIRELLI-AV0001-000080\/la-lepre-e-tartaruga.html?jsonVal={%22jsonVal%22:{%22query%22:%22La%20lepre%20e%20la%20tartaruga%22,%22startDate%22:%22%22,%22endDate%22:%22%22,%22fieldDate%22:%22dataNormal%22,%22_perPage%22:20}}&amp;attachmentMisc=undefined&amp;lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Tortoise and the Hare<\/a><\/em>, declared to be \u201cextraordinary\u201d by the driver Juan Manuel Fangio, and to be driven \u201cwith eyes closed\u201d in the vision of the illustrator Riccardo Manzi. The subject of the never-ending \u201c<a href=\"https:\/\/www.fondazionepirelli.org\/archivio-storico\/bookreader\/pubblicazioni-e-riviste\/RivistaPirelli\/1966_4.html?q=[#page\/73\/mode\/1up\" target=\"_blank\" rel=\"noopener noreferrer\">A journey but<\/a>\u201d, by the creative couple Arrigo Castellani and Pino Tovaglia \u2013 the former the first director of\u00a0<em>Pirelli<\/em>\u00a0magazine, and the latter the famous Italian designer. Puns and plays on words written in black and white polygons alluded to events and personalities in 1960s show business: it was an exercise in gossip that turned into advertising.\u00a0<strong>Camilla Cederna<\/strong>\u00a0could not fail to sense its real significance, in an article published in no. 4 of 1966: \u201cYou think it\u2019s Orsetta?\u201d, \u201cSo who\u2019s the bed designer?\u201d, and so on, in a whole series of associations and references to be interpreted, such as \u201cthe brunette Fiamma\u201d, \u201c Italy\u2019s most beautiful Silvia\u201d, \u201cthe pale para-intellectual\u201d. The genius that was Arrigo Castellani once again \u201cgot it right\u201d.<\/p>\n<p>Towards the end of the Golden Sixties,\u00a0<strong>Lietta Tornabuoni<\/strong>\u00a0wrote \u201c<a href=\"https:\/\/www.fondazionepirelli.org\/archivio-storico\/bookreader\/pubblicazioni-e-riviste\/RivistaPirelli\/1968_11.html?q=&amp;start=122&amp;lang=en#page\/122\/mode\/2up\" target=\"_blank\" rel=\"noopener noreferrer\">PPP<\/a>\u201d (magazine no. 11-12 of 1968) devoted to\u00a0<strong>Pier Paolo Pasolini<\/strong>. These were the years when the film\u00a0<em>Teorema<\/em>\u00a0was confiscated and Pasolini stated that \u201cI\u2019ve spent my life hating the old bourgeois moralists, and now I already have to hate their children too\u201d. And Tornabuoni, in the magazine would write: \u201cThe more provocative and challenging Pasolini becomes, the more his audience expands. The more he is surrounded by the scandalised lamentations of the bourgeois world, the more he becomes marketable and marketed.\u201d<\/p>","protected":false},"excerpt":{"rendered":"<p>Women and words: the signatures of women whose writings appeared, over the years, in the pages of Pirelli\u00a0magazine, a publishing phenomenon that left a profound mark on the culture of the 1950s and 1960s. The first name was that of\u00a0Milena Milani, an author from Savona, who shot to fame in 1964 with her\u00a0La ragazza di [&hellip;]<\/p>\n","protected":false},"author":9,"featured_media":75711,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[71,68],"tags":[243],"class_list":["post-75715","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-activities","category-stories-from-world-of-pirelli","tag-company-history"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.0 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Pink Ink: Women Writers for Pirelli Magazine - Fondazione Pirelli<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fondazionepirelli.org\/en\/activities\/stories-from-world-of-pirelli\/pink-ink-women-writers-for-pirelli-magazine-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pink Ink: Women Writers for Pirelli Magazine - Fondazione Pirelli\" \/>\n<meta property=\"og:description\" content=\"Women and words: the signatures of women whose writings appeared, over the years, in the pages of Pirelli\u00a0magazine, a publishing phenomenon that left a profound mark on the culture of the 1950s and 1960s. The first name was that of\u00a0Milena Milani, an author from Savona, who shot to fame in 1964 with her\u00a0La ragazza di [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.fondazionepirelli.org\/en\/activities\/stories-from-world-of-pirelli\/pink-ink-women-writers-for-pirelli-magazine-2\/\" \/>\n<meta property=\"og:site_name\" content=\"Fondazione Pirelli\" \/>\n<meta property=\"article:published_time\" content=\"2020-03-20T09:52:43+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-04-21T17:46:59+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/wpsite-assets.fondazionepirelli.org\/wp-content\/uploads\/2018\/03\/20103540\/img-copertina-penne-rosa.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1241\" \/>\n\t<meta property=\"og:image:height\" content=\"520\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"fondazionepirelli\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"fondazionepirelli\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.fondazionepirelli.org\/en\/activities\/stories-from-world-of-pirelli\/pink-ink-women-writers-for-pirelli-magazine-2\/\",\"url\":\"https:\/\/www.fondazionepirelli.org\/en\/activities\/stories-from-world-of-pirelli\/pink-ink-women-writers-for-pirelli-magazine-2\/\",\"name\":\"Pink Ink: Women Writers for Pirelli Magazine - 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