Etienne Russo, l'uomo degli eventi. «Ho scelto Milano, c'è un'aria nuova. Ridiamo peso alle firme della moda, basta con la cultura del like»
di Michela Proietti
Con la sua Villa Eugenie ha organizzato alcuni tra gli show più scenografici degli ultimi 20 anni.«Indosso la gonna con un'attitudine maschile. La mia grande occasione? Con Dries Van Noten»
T utte le strade portano a Milano. Tra i nuovi milanesi — creativi, imprenditori, intellettuali che hanno scelto di trasferire affari e famiglia in città — c’è anche Etienne Russo, l’uomo dietro alle quinte dei grandi eventi della moda. La sua Villa Eugenie, negli ultimi 30 anni è stata l’ incubatrice di idee pensate per sorprendere chi ha già l’asticella dello stupore altissima. Un mondo nato a Bruxelles (città di Russo, con inevitabili origini italiane, siciliane per la precisione), consolidato a Parigi e ora approdato a Milano, «che dopo il Covid mi ha mostrato il suo volto: si respirava qualcosa di nuovo, nella musica, nella moda e nell’arte — racconta l’imprenditore —. Mi sono detto: voglio farne parte anche io».
Nei nuovi uffici di Palazzo Durini, in via Santa Maria Valle, indirizzo della prima cerchia milanese, ha t
étienne russo
Cédric Saint André Perrin Vous avez débuté avec Dries Van Noten.
Etienne Russo Nous avons organisé son premier défilé à Paris en 91, dans les sous-sols de l’hôtel Saint James & Albany. On avait construit un petit théâtre à l’italienne orné d’un soleil que l’on tirait à l’aide d’une corde, une toile peinte descendait et remontait pour illustrer la tombée de la nuit ; c’était naïf et poétique. On a créé beaucoup de décors avec Dries Van Noten, même s’il préfère aujourd’hui s’inscrire dans des lieux qu’il met en valeur à travers un travail de lumière, un parcours spécifique des mannequins et un placement du public déstructuré.
CSAP Votre métier recouvre quelles activités ?
ER C’est à géométrie variable ; cela va du choix de la salle à la conception d’un décor en passant par la chorégraphie des mannequins. Cela concerne tout ce qui touche l’organisation des shows ; disons que c’est un mélange entre production, scénographie et direction artistique. À mes débuts, je faisais même la cuisine pour Dries !
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CSAP En vingt-deux ans de carrière, qu’est-ce qui vous semble avoir le plus évolué ?
ER Le temps. L’accélération du temps. À tous les niveaux.
Etienne Russo and The Art of Storytelling
Etienne Russo has been behind some of the most epic and transformative fashion shows and events in recent memory. With his event company villa eugénie, Russo has not just upped the ante, but expanded the possibilities and expectations of an immersive experience.
When Moncler’s RemoRuffini needs to wow with a new collection, he calls on Russo to do his magic—whether it’s transforming the Hammerstein Ballroom into a massive LED grid filled with 60 choristers behind a Pendulum Choir pivoting on hydraulic cylinders or a Valentine’s Day-themed presentation of ski style set on moving platforms with models taking the place of truffles in a reimagined oversized box of chocolates. Or when ThomBrowne needed to orchestrate an office of 40 identical models acting in unison for twenty minutes, or to create a narrative of heartbreak staged in a Victorian operating theater as snow falls from above.
Whitewall sat down with Russo to discuss his rise from being a club promoter and party planner in the eighties to working with D
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I actually started my education at the école hôtelière in Belgium, then I worked in high-end restaurants. This training taught me to be rigorous, precise and punctual. After a few years, in the early eighties, I met a stylist who convinced me to become a model. This experience allowed me to travel throughout Asia and to live for six months in Japan. Around that same time I had also started working in a club in Brussels, the Mirano, a venue very similar to what the Palace was back then in Paris. I began as a bartender and it led to being the artistic director of the nightclub, organizing themed parties and fashion shows. Looking back, I realize it had somewhat become a ‘laboratory’ for me. I also set up young designers’ contests in the club, which was my first true experience with sound, lighting, scenography. At that time I grew closer to the Antwerp Six, who had just about graduated. I was doing photoshoots as a model for Walter Van Beirendonck and started to bond with Dries Van Noten. We were showing his collections across European fairs until one day in when he asked me to do his first show. It took place in Paris t
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