Red, Mirrors, and Watermelon
Not dramatic. Not catastrophic. Just a shedding that happens quietly while you’re still going about your days. I’ve been walking through this one with heightened senses — as if everything is slightly louder, brighter, more symbolic than usual.
Pain can do that. It sharpens color.
Some weeks feel like molting.
Not dramatic. Not catastrophic. Just a shedding that happens quietly while you’re still going about your days. I’ve been walking through this one with heightened senses — as if everything is slightly louder, brighter, more symbolic than usual.
Pain can do that. It sharpens color.
Red Everywhere
Lunar New Year unfolded in Chinatown like a fever dream in the best way.
Red poured down the streets. Gold flashed from storefronts. Drums pounded so hard it felt like the pavement had a heartbeat. Lion dancers — often called dragons, but technically lions — went door to door blessing businesses for the year ahead. They bowed. They blinked. They snapped their jaws open and shut, playful and fierce at once.
The ritual is ancient. It calls in prosperity. It wards off bad spirits. It invites luck in through the front door.
Children carried tanghulu — fruit skewered on sticks and dipped in melted sugar, hardened into glass. The fruit glowed like jewels. Hawthorn berries sealed in sweetness. Sticky and shining.
Confetti stuck to the bottoms of shoes. Cymbals clashed. The dragon undulated down the street — long, embroidered, shimmering — powered by many bodies moving as one.
It felt like collective optimism.
I stood there thinking: yes. Let’s try that. Let’s try optimism again.
Entering the Void (On Purpose)
I saw Anish Kapoor at Lisson Gallery and walked straight into a mirror that swallowed me.
His surfaces bend reality until your sense of proportion dissolves. One piece curved inward with a severity that almost nodded to Richard Serra — heavy, minimal — but Kapoor’s mirrored voids do something stranger. They erase edges. They destabilize your footing.
You step closer and your reflection stretches, fragments, disappears.
It felt like entering a dimension without friction. A quiet void. A pause in the noise.
There is something deeply comforting about distortion. It reminds you that perception is flexible. That what feels fixed might not be.
I stayed in that calm for a long time.
The Moka Pot and Repetition
Back home, I’ve been drawing my moka pot over and over again.
Line. Line. Line.
No erasing. No fixing. Just repetition.
The moka pot is all pressure and release. Water heated. Steam forced upward. Something bitter turned warm.
Drawing it feels like holding something steady while everything else rearranges itself. The repetition quiets the static. It’s almost funny how something so small can anchor a day.
If you draw something enough times, it starts to feel like prayer.
Watching From the Periphery
Fashion Week unfolded like theater from a slight distance.
Khaite still understands tension.
Diotima feels intentional and exact.
Ralph Lauren remains cinematic — a master of atmosphere.
Marc Jacobs plays with proportion like it’s a joke only he understands.
And Tory Burch — something fresh there. A subtle shift over the last few seasons. Cleaner. Sharper. Less eager.
It’s interesting to watch from a different vantage point. Less frenzy. More observation.
Watermelon, Metal, Oud
I finally stopped into Naked Ghosts — a perfumery that feels less like retail and more like conversation.
We talked about scent as sculpture. As distortion. As memory.
One fragrance — Strinking by Rich Mess — opened with shockingly ripe watermelon. Wet. Metallic. Almost too bright. It lingered longer than expected, then melted into something ambery and woody, still whispering fruit.
I keep imagining layering it over something dark. Dirty oud underneath bright sugar-water fruit.
Sweet over smoke. Youth over age. Fresh over ancient.
Juxtaposition again.
Blossoms in Dirty Snow
This week has felt like blossoms pushing through snow that hasn’t fully melted yet.
Things are rough. My body and mind are not entirely aligned. Healing feels slow. But there have been flashes — red confetti, mirrored voids, sugar fruit, coffee steam — that remind me how alive things still are.
You can feel unwell and grateful at the same time.
You can hurt and still notice beauty.
You can reset without announcing it.
For now, I am drawing small objects. Watching lions bless storefronts. Standing inside mirrors. Plotting the year quietly. Sending applications into the distance. Letting sweetness sit over something darker.
Molting.
Let’s see what emerges.
-Anthony Amadeo
Collection 1 — Look 2
Suddenly I was a child again, watching my family make hundreds and hundreds of cookies for special occasions. Every surface of the house covered—tables, counters, chairs—lined with trays cooling before being packed into tins. Cookie tins collected over decades. Tins passed from hand to hand. Picked up by family. Dropped off at gatherings. Always meant to be shared.
This dress began as a tablecloth.
Not a pristine one—one that had lived.
One that had been folded and unfolded, washed and stained, pulled from drawers for holidays and ordinary Sundays alike. A tablecloth that knew hands, heat, crumbs, and time.
When I reinterpreted it into a maxi dress with a turtleneck, I wanted to keep all of that history intact. The marks stayed. The wear stayed. The fabric wasn’t cleaned of its past—it was elevated by it.
As I steamed the dress for the first time, something unexpected happened.
The smell came back.
Steam mixed with almond paste, flour, powdered sugar. That unmistakable scent of Italian cookies—especially the S cookies—cooling on the table, fresh from the oven. Clean fabric and warm sugar layered together. It stopped me in my tracks.
Suddenly I was a child again, watching my family make hundreds and hundreds of cookies for special occasions. Every surface of the house covered—tables, counters, chairs—lined with trays cooling before being packed into tins. Cookie tins collected over decades. Tins passed from hand to hand. Picked up by family. Dropped off at gatherings. Always meant to be shared.
What stayed with me most wasn’t just the smell, but the process.
The repetition.
The patience.
The quiet perfection of doing something the exact same way generation after generation.
The recipes were written on distressed, handwritten note cards—soft at the corners from years of use. The proportions were never small. No recipe ever made just a dozen cookies. Everything was measured for abundance. Enough for everyone. Enough so you could still sneak a few straight off the tray while they were cooling.
That’s what this dress represents to me.
Generations of shared knowledge.
Love passed through hands.
Practice, patience, and care repeated until it becomes instinct.
I attached my collection of buttons—ones I’ve been gathering for nearly fifteen years—like a timeline running down the back. Each button different. Each one chosen. Each one holding its own quiet history.
This garment was hand sewn slowly, deliberately, with the same kind of attention I watched growing up in kitchens filled with heat and laughter and flour-dusted hands.
Even without an abundance of material things, there is always an abundance of love.
And when love is practiced—over and over again—it becomes something you can feel, wear, and share.
This is Collection 1, Look 2.
A dress made from memory.
A dress made to hold generations.
Collection 1: Chiddu ca tinemu
Collection 1, Chiddu ca tinemu, has existed long before it had a name—long before it had an image, a look number, or a reason to be introduced. It lived first in memory, in gesture, in domestic spaces that shaped the way glamour was understood before it was ever worn.
Collection 1: Chiddu ca tinemu
Some collections arrive loudly.
This one has been waiting.
Collection 1, Chiddu ca tinemu, has existed long before it had a name—long before it had an image, a look number, or a reason to be introduced. It lived first in memory, in gesture, in domestic spaces that shaped the way glamour was understood before it was ever worn.
Look 1 is the quiet beginning. Or rather, the moment when something already in motion allows itself to be seen.
The skirt—hand-sewn, intuitively patterned, repurposed from a vintage tablecloth—is the sole focus of this introduction. There is no distraction. No styling spectacle. Just the garment…
This collection is rooted in youth—not nostalgia, but aspiration. The kind that forms early, quietly, while sitting at kitchen tables and listening more than speaking. Watching great aunts and uncles move through their routines. Observing how they spoke about the future. How they made beauty out of what they had. How suburban life, when lived fully, could feel cinematic.
There was glamour there. Not imported, not purchased—constructed. Set hair, pressed linens, lipstick before errands. Domestic rituals elevated through care and intention. These women did not wait for a bigger life to arrive. They built one where they stood.
Chiddu ca tinemu is about that inheritance.
Every piece in the collection is made from repurposed domestic textiles—tablecloths, bed linens, table runners, lace, and unexpected household relics that carry history in their weave. These materials once lived in private spaces. Now they are reinterpreted into silhouettes that suggest women who are self-possessed, aspirational, and quietly commanding. Women who understand that intimacy and ambition are not opposites.
The garments are entirely hand sewn. The patterns arrived intuitively, guided by repetition, touch, and trust rather than rigid structure. Seams are visible. Decisions remain present. The hand is not erased. This is not about perfection—it is about presence.
As the collection unfolds, it will appear slowly, deliberately—through press, editorials, and continued documentation. Each reveal is meant to feel earned, not consumed.
This first look is not a statement.
It is a signal.
A reminder that glamour can live inside domesticity.
That heritage can be worn forward.
That aspiration often begins by watching the women who came before you and deciding, quietly, to go further.
Collection 1: Chiddu ca tinemu has been waiting.
Now, it begins to speak.
—
Closely tied to this collection is amadeo amadeo fragrance No. 37 — ECLOGUE, a scent drawn from the same domestic landscapes and private rituals. It will be stocked soon.
This is not the full picture.
It’s an opening.
Giant Jeans
A short reflection on scale, shape, and the feeling of not fitting in. A written piece from Anthony Amadeo—before the images, just the words.
They don’t fit. They belong.
By Anthony Amadeo
Published in The Journal
There was a pair of jeans.
They arrived uninvited.
No tag. No origin. No proof of purchase.
Only folds. Only volume.
They hung like silence.
They draped like history.
They did not fit.
Which, in many circles, would be considered failure.
Tailors whispered. Stylists measured.
Photographers blinked.
They tried to make sense of the scale.
“Who are they for?”
“Where are the darts?”
“Should we hem them?”
The answer was no.
The answer was not now.
The answer was: they already are.
You see, the Giant Jeans weren’t made to flatter.
They were made to frame.
They weren’t worn to impress.
They were worn to exist.
Not a fit—an environment.
Not a garment—a gesture.
They moved through light like a second shadow.
They swallowed knees, hugged air, trailed behind like stories.
No one knew how to wear them “correctly.”
And yet, every body they touched looked... correct.
People began to talk.
Theorists. Teenagers.
Former models turned archivists.
They said the jeans weren’t real.
They said the photos were fake.
They said no one would make jeans that didn’t fit.
But they were wrong.
Or they were right.
Or both.
Because maybe the point was never to fit.
The campaign, if we’re calling it that, isn’t about jeans.
It’s about proportions that don’t apologize.
It’s about shape without shame.
It’s about showing up exactly as you are—too big, too loud, too much—and realizing:
You belonged here the whole time.
You were the fit.
Let the others tailor themselves into silence.
Let them cinch and compress and conform.
Let them ask what size you wear.
You don’t answer.
You walk.
In Giant Jeans.
Moving like a fact.
Unfolding into the space that was always yours.
Photography + Art Direction by Anthony Amadeo
@anthonyxamadeo | @amadeoxamadeo
This is not a campaign. This is a confirmation.
Slice of Style with Christiano
It was here, in this milieu of artistic fervor, that I first spotted Christiano Wennman. His presence was as striking as the backdrop of the show, a canvas ripe for the artistry I envisioned. Christiano, known for his work at Scarr’s Pizza in New York’s Lower East Side, carries with him an aura of cool authenticity that resonates well beyond the confines of the kitchen. The idea of capturing his essence through my lens grew irresistible. Our collaboration in New York City birthed a series of collages that are as much a celebration of his individuality as they are of the cultural tapestry that brought us together. Through these images, infused with the energy and spirit of our surroundings, I invite you to explore a visual narrative that’s stitched from moments of inspiration, connection, and sheer artistic adventure.
Slice of Style with Christiano Wennmann. Photography and Collaging by Anthony Amadeo
In the heart of Paris, amidst the electrifying buzz of Fashion Week, I witnessed the awe-inspiring debut of Willy Chavarria's AW25 collection, "Tarantula." As a fervent admirer of Chavarria’s work and his mastery in melding cultural narratives with bold, street-savvy designs, my anticipation was palpable. Paris, a city that commands the avant-garde, now played host to one of America's most compelling designers, and the show was nothing short of a revelation. Each piece paraded down the runway was a testament to community and unity, woven with the kind of joy that leaps straight from the soul. The textures—rich velvets and meticulous tailoring—paid homage to Parisian elegance while staying fiercely loyal to the essence of Chavarria’s vision.
It was here, in this milieu of artistic fervor, that I first spotted Christiano Wennman. His presence was as striking as the backdrop of the show, a canvas ripe for the artistry I envisioned. Christiano, known for his work at Scarr’s Pizza in New York’s Lower East Side, carries with him an aura of cool authenticity that resonates well beyond the confines of the kitchen. The idea of capturing his essence through my lens grew irresistible. Our collaboration in New York City birthed a series of collages that are as much a celebration of his individuality as they are of the cultural tapestry that brought us together. Through these images, infused with the energy and spirit of our surroundings, I invite you to explore a visual narrative that’s stitched from moments of inspiration, connection, and sheer artistic adventure.
Riddles of Red, Fragrance, and Frames: Day 14
Awoke with the dawn, a puzzle waiting to be solved. First, Lasse—our red locks a clue to the camaraderie and creativity that would unfold. Click, flash, a mystery captured in each frame. What tales do these images whisper?
Awoke with the dawn, a puzzle waiting to be solved. First, Lasse—our red locks a clue to the camaraderie and creativity that would unfold. Click, flash, a mystery captured in each frame. What tales do these images whisper?
Quick edits became brief interludes, each adjustment a riddle unraveling. Then Martina, her Spanish words a labyrinth I navigated with gestures and poses. Our communication, a dance of expressions and mimics. What secrets do her portraits hold, wrapped in the veil of language?
A stroll led me to the enigmatic doors of Initio Parfums Privés. Inside, aromas wove tales and spells, the salesgirl a guide through a forest of scents. Each fragrance a question, each spritz an answer. Can you guess which essence mirrors the soul?
Riddle Me This:
What turns red but is not embarrassed, captures moments but is not a thief?
What speaks without words, shows without telling, and reveals without exposing?
What can transport you without feet, enchant without magic, and intoxicate without a sip?
Answers:
The redhead Lasse, our shared hue crafting art in the silence of the shutter.
Martina’s shoot, where poses spoke louder than words, and images transcended speech.
The scents of Initio, with Paragon and Absolute Aphrodisiac casting spells on skin, weaving narratives in the air.
Back to my refuge, more edits to tame, more images to choreograph. Tomorrow's shoots loom like unsolved puzzles. Tonight, I watch the rain sketch patterns on the glass, each droplet a metaphor, each streak a brushstroke of nature’s art.
As I scribble thoughts on paper, consider this:
What is seen when closed eyes dream of light?
What whispers in silence and shines in the dark?
The city rains, the camera clicks, the perfume lingers. Paris, a riddle wrapped in mystery, draped in creativity.
Can you unravel the essence of today?
Walter Cook: Redheads, Denim, and Surreal Shapes
AA: Walter, let’s start with our shoot—it was such a fun day!
We threw everything at it: oversized denim, an oversized black suit, and even a Ghillie suit. What was it like stepping into those surreal and abstract concepts? Did anything surprise you about how the final images turned out?
Anthony Amadeo chats with Walter Cook about abstract shoots, creative trust, and what’s next.
AA: Walter, let’s start with our shoot—it was such a fun day!
We threw everything at it: oversized denim, an oversized black suit, and even a Ghillie suit. What was it like stepping into those surreal and abstract concepts? Did anything surprise you about how the final images turned out?
WC: Going into the shoot I wasn’t sure what to expect. It was my first shoot and I didn’t have any base expectations because of that. The surreal aspect of the clothes made me feel more comfortable than I thought I would be. I wasn’t as worried about making the clothes look perfect or making sure I was standing in exactly the right pose. I was excited to get the images back and they blew me away. In the moment you don’t see the final picture, but afterwards you can look back on the moment when it was taken to see what you were thinking or doing. This just reaffirmed my belief that it isn’t about what I see or want, but what can be captured from another point of view.
AA: You really nailed those abstract shapes and ideas.
That oversized denim became something totally freeform in your hands. How did you approach working with those pieces, and did you feel like you were building something new in each moment?
WC: Working with the denim was something that felt very freeing. Trying to find different ways it would move, and to make it stay in those positions for longer than a few seconds before it fell was very fun. I didn’t think of it as clothing while trying to move it which I believe helped create some of the more abstract shapes that emerged.
AA: And let’s not forget the oversized black suit and the Ghillie suit.
The textures, the movement—it was all so dynamic. Do you have a favorite moment or look from the shoot? What stood out to you most about working with those pieces?
WC: One of my favorite looks from the shoot is when we were taking the Ghillie suit pictures. We had taken a couple of pictures before you went over and grabbed the oversized suit and pants. I was thinking I was going to change into them, but you said to just put them on over the ghillie suit. That was unexpected and created some amazing images. I personally love the picture where I have the suit over my shoulder. I remember trying to create that shot with you and I love the way it came out in the end.
AA: We bonded over both having red hair during the shoot—definitely a standout feature!
What’s the funniest or most unexpected comment you’ve ever gotten about being a redhead? Do you think it shapes how people see you or the energy you bring to creative projects?
WC: Having red hair has definitely been something that stands out while doing modeling. It can shape some shoots depending on what the photographer or brand is looking for, but with others it is just an added bonus. As you know it catches people’s eye as they are looking at potential models to work with. Even a second glance makes all the difference in the world. Something to draw the eyes in so they can see what else I have to offer. In terms of unexpected and funny comments there is one I have heard many times. “You know women would kill for hair like yours”. It always comes out at the most unexpected times or from people I have just met which makes it funny to me.
“You know women would kill for hair like yours”
AA: Modeling takes a lot of trust and openness, especially with surreal concepts like ours.
How do you get into the mindset to create? Are there things you do to stay confident and present in front of the camera?
WC: I know that the photographer has an idea in their head. Whether it is a basic concept or a specific vision. I see myself as more of an extension of that vision. It isn’t about me or what I want the images to come out looking like. I think that keeps me in the mindset to create. I am not worried about the way I look on the outside as that has been determined by someone else. My job is to try and bring to light something that someone else has envisioned. I have to work with what I am given as well as the photographer to get to that final image they are looking for.
AA: What’s next for you?
What are your plans with modeling—any exciting campaigns, projects, or new directions you’re wanting to explore?
WC: I am currently working on getting signed with another agency in New York right now. I had originally been signed to a sports and fitness division, but after a little bit I realized that it wasn’t for me. I wasn’t going anywhere and I couldn’t justify staying. I have been talking with some other agencies and am looking forward to working and having many more experiences modeling for all sorts of projects and hopefully campaigns.
AA: Finally, let’s end with some fun: if we were to shoot again, what’s the wildest idea you think we could try?
Would it involve even bigger suits, weirder textures, or something totally unexpected? Let’s brainstorm!
WC: I think trying to get pants big enough for me to fully fit in would be amazing. I tried unsuccessfully to fit in the pants during our first shoot and I think if I pull a bit harder and the pants are a bit bigger I could definitely make it work. Adding in some other textures like a scale pattern or leather might be a good contrast to the wildness of the ghillie suit. I am definitely ready for whatever we come up with and excited to create more images with you in the future. Wherever the shoot takes us is the perfect place to be.
Reflections in B&W
Anthony Amadeo's Best Portraits of 2024
Anthony Amadeo's Best Portraits of 2024
What a year it has been. Reflecting on the past 12 months, it feels like I’ve lived in a whirlwind of portraits. This year, I poured myself into refining the style of imagery I create. Each session felt like stepping into a new conversation, allowing the art to unfold naturally. My process has always leaned heavily on spontaneity—letting the moments emerge, rather than meticulously constructing them. Inspired by the rules of Dadaism, I approached my work with the belief that art can create itself when you’re open to the moment. The result? Images that capture the essence of human interaction in their most raw, unfiltered forms.
This year’s journey wasn’t without its challenges. While I embraced spontaneity, I also sought balance. How could I bring a sense of order to the chaos? How could I create stories in my images that feel genuine and honest while placing my subjects in abstract or surreal situations? It’s a juxtaposition I’ve chased: raw emotion within striking, offbeat visuals—a tension between connection and intrigue. Much of my work remained in my signature black-and-white style, a choice that has become synonymous with my creative voice.
People often ask me, “Why is all your work black and white?” My answer? It’s not just a choice; it’s a feeling. I learned black and white from Nick Dekker, a master darkroom printer who once assisted Ansel Adams. Nick was my teacher at Brooks Institute and my favorite mentor. I vividly recall him telling me, “I’m going to keep failing you, but it’s only so you can learn. I know you have the talent, and I don’t want you to cruise through this.” That lesson stuck. Nick’s encouragement to push beyond the surface taught me to truly see the image within an image.
For me, black and white distills a photograph to its essence. When I convert a color image to monochrome, it’s as if the unnecessary information falls away, leaving bold contrasts, shapes, and graphic elements. It’s where the photograph becomes an image—a piece of art.
As I look back on this year, I’ve selected 15 favorite images that represent the essence of 2024. Each one tells its own story.
Each portrait in this collection carries a piece of this journey—of chasing balance, finding clarity in spontaneity, and honing a style that feels both intimate and otherworldly. I hope these images resonate with you as they have with me. Here’s to another year of discovery, creation, and connection.
A Walk Through Holiday Magic: The Bergdorf Goodman 2024 Windows
Few things capture the spirit of New York City during the holidays quite like the Bergdorf Goodman Fifth Avenue windows. This year’s theme, “Toast of the Town,” is a sparkling homage to the iconic city itself, celebrating its landmarks, energy, and the glamour that makes NYC the capital of dreams.
Few things capture the spirit of New York City during the holidays quite like the Bergdorf Goodman Fifth Avenue windows. This year’s theme, “Toast of the Town,” is a sparkling homage to the iconic city itself, celebrating its landmarks, energy, and the glamour that makes NYC the capital of dreams.
Unveiled to the public on November 21, the windows pay tribute to Fifth Avenue’s enduring legacy, coinciding with the 200th anniversary of this legendary thoroughfare. Each of the nine windows on display is a masterpiece in itself, crafted in-house by Bergdorf’s visionary design team over the past year.
New York City Reimagined in Fashion
From a giant, glittering yellow taxicab to jeweled pigeons perched throughout the displays, every window is a love letter to the city’s most recognizable icons. One window is bathed in vibrant red, honoring the lions of the New York Public Library and the literary history they symbolize. Another, lush with green, is an ode to the parks and leafy havens scattered throughout the city.
One of my favorite windows featured a look from Marc Jacobs’ Spring 2024 collection. The life-size doll concept took me back to Martin Margiela’s Fall/Winter 1994 collection, where he famously scaled doll clothes to fit adult proportions. It’s a brilliant nod to how fashion continually plays with proportions and the surreal.
The men’s windows also held treasures, like a look from Alexander McQueen’s Resort 2025 collection. Seán McGirr’s designs for the house continue to impress, and seeing this piece displayed so thoughtfully felt like a sneak peek into the bright future of his creative direction at McQueen.
Peering Into Each Detail
Bergdorf’s windows are always a feast for the senses. This year, I found myself lingering at the layers of design, from the subtle textures on mannequins’ garments to the surreal elements, like oversized clocks and sequined animals, that bring the displays to life. The meticulous attention to detail invites you to step closer, peer longer, and uncover something new each time.
The themes this year, from the yellow taxis to whimsical park scenes, are tied together with Bergdorf Goodman’s signature aesthetic—a balance of high fashion and theatrical storytelling. Designers like Valentino, Michael Kors, Thom Browne, and Prabal Gurung lent their creations to these windows, making them a true celebration of artistry and craft.
Why the Windows Inspire
For me, seeing these windows is an annual ritual of inspiration. They remind me how art, fashion, and storytelling can merge to create something unforgettable. Each display feels like a small world—one that captures the essence of New York City while also transcending it.
If you’re in the city this holiday season, don’t just walk by—take a moment to lose yourself in the details. From the jeweled pigeons to the lavender-hued homage to Bergdorf itself, these windows aren’t just about fashion; they’re about imagination and the magic of possibilities.
What’s your favorite Bergdorf holiday memory? Let me know below—I’d love to hear what inspires you during the season of sparkle.
“Toast of the Town” runs through the holiday season. Don’t miss this iconic display of New York glamour!