Beauty, destiny and damnation. They are often mixed together in a circle of cause and effect in the chess game of power. They smile on those who are able to manage them, not infrequently after they have experienced their devastating outcomes.
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If it were women with a notable level of femininity and seduction who were playing, then strategic, lethal silhouettes would be formed that concealed their vulnerability, alternating between sweetness and aggression. What is certain is that they would be personalities with a strong character capable of a determined pursuit of their personal choices.
And if it were the playwright par excellence who explored the drama in all its twists and turns, terrible and fascinating characters would appear, powerful women divided by a manly and womanly duality, contaminated by the fatal fascination of a power that is a male prerogative, so much so that they are the embodiment of pure evil in our imaginations, as in the case of Lady Macbeth, or to seem to be presumptuous and perverse, as we read in the pages of Henry VI, or to personify grace on the outside and brutality on the inside.
“O tiger’s heart, wrapped in a woman’s hide” to be precise, as William Shakespeare has the Duke of address Queen Margaret of Anjou, again in Henry VI, but this time in Part III, because of an act of extreme cruelty mixed with a chilling coldness, which is impossible to deny.
But what especially strikes us in these words is the aggravating circumstance that the role of a woman as an angel at the hearth as not respected, openly challenging the rules of social structure.
Although they are described by their antagonists as androgynous monsters, if we look at them under a different light they are creatures who assert their full and free identity as women of power who are even revolutionary in certain respects because of the power of the archetypes they represent.
Beauty therefore becomes a card that can be played. The characters interpreted by Monica Bellucci, who herself an icon of golden beauty, and the face of this edition of Celebre Magazine, fall into two categories: those who use it to dominate, and those who are victims of her charm.
The dividing line is not as clear as this, of course: on the contrary, it can move depending on the circumstance, the moment and the interlocutor. In this way, the evil queen of fables, Persephone, Cleopatra, Tosca and Maria Callas, to quote some famous names, or fictitious women who rise up again by putting their pieces back together, take their shape.
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These are codes that communicate an urgent need for renewal while also drawing from tradition, as is the case with the protagonists of this issue, which is labelled with the Greek letter Mi, from art to yoga and from the hospitality industry to the museums of the grand names of fashion.
Article edited by Claudia Chiari
Editorial Director Celebre Magazine World