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«Chiara Ferragni at the Uffizi as Botticelli’s Venus». It’s social controversy

They consider it a “myth for millions of followers” and so far no problem. It is objectively. But when the Instagram account of the Uffizi Galleries he defined Chiara Ferragni “A sort of contemporary divinity in the social age”, open up heaven. In the sense of controversy. The queen of web marketing and digital entrepreneur with 20 million followers two nights ago he was in the Uffizi. Not as a tourist, but as a model, for a photo shoot for Vogue Hong Kong. “It was the best time to visit the museum,” he commented, joking about the night time. But also to invite his millions of followers – here is the marketing operation wanted by the Uffizi – to go to the museum.

Marketing

The increasingly attentive marketing service of the Galleries, on the wave of communication for increasingly “rock” images of the director Eike Schmidt, he took the ball and, commenting on a photo of him in front of the Birth of Venus Botticelli has ventured a comparison – given that “the aesthetic canons have changed over the centuries” – which has made the world of the web discuss all day. The comparison with Simonetta Vespucci, the “noblewoman of Genoese origin, loved by Giuliano de ‘Medici, younger brother of Lorenzo the Magnificent and idolized by Sandro Botticelli, so much so that she became his inspiring Muse” who gave that face-icon to that painting-icon. Comparing Ferragni to Vespucci has produced the expected result: 330 thousand likes and a thousand enthusiastic comments for Ferragni’s post at the Uffizi and 21 thousand likes and 1,500 tenor comments in the opposite direction for the Uffizi post with Ferragni. “The myth of Chiara Ferragni, divided between fierce detractors and fearless supporters, is a sociological phenomenon that gathers millions of followers all over the world, photographing a snapshot of our time” writes the museum directed by Eike Schmidt on Instagram. But the world of commentators has split in two: those who criticize write under the Uffizi post, those who appreciate under the post of Ferragni. Like in a game of tennis where, however, every fan enters a different stadium from the other. As if to show that the so-called “high” culture and the world of influencers do not meet even when the influencer goes from culture. And the latter is “influenced”.

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Yesterday and today … The aesthetic canons change over the centuries. The female ideal of the woman with blond hair and diaphanous skin is? a typical ideal in vogue in the Renaissance. Masterfully expressed at the end of the 15th century by #SandroBotticelli in the Birth of #Venere through the face probably identified with that of the beautiful Simonetta Vespucci, her contemporary. A noblewoman of Genoese origin, loved by Giuliano de? Medici, younger brother of Lorenzo the Magnificent and idolized by Sandro Botticelli, enough to become his inspiring muse. Nowadays the Italian Chiara Ferragni, born in Cremona, embodies a myth for millions of followers – a sort of divinity? contemporary in the social era – The myth of Chiara Ferragni, divided between ferocious detractors and fearless supporters, and? a sociological phenomenon that gathers millions of followers all over the world, photographing a snapshot of our time. ? ENG: Beauty standards change in the course of time. The female ideal of a blonde-haired woman with diaphanous skin is a very common beauty model in the Renaissance. Masterfully expressed by the Florentine Sandro Botticelli in The birth of Venus maybe portraying the face of one of his contemporary, Simonetta Vespucci. A beautiful noble woman, of Genoese origin, beloved by Giuliano de? Medici, the younger brother of Lorenzo the Magnificent; she was so worshiped by Sandro Botticelli that she became his muse. Nowadays, Chiara Ferragni, born in Cremona, embodies a role model for millions of followers – a sort of contemporary divinity in the era of social media – the myth and the story of Chiara Ferragni, argued by harsh critics and supported by faithful fans, is a real sociological phenomenon that involves millions of supporters worldwide and it can undoubtedly be considered a snap-shot of our time.

A post shared by Uffizi Galleries (@uffizigalleries) in data:

Matter of followers

One of the first comments is from the Florentine Sandra Gesualdi, candidate for Liberi e Uguali to the previous policies: «But how do you approach Venus and Primavera with Ferragni? On. You are the social network of the Uffizi not of a brand of costumes ». The next, by Alberto Pisano, touches the 800 “likes”: “I understand the crisis and your joy of entering the social world in a continuous and constant way but if you think of increasing followers with her, well I think the level would drop by very”. More than seven hundred for La Setta dei Poeti Estinti of cinematographic memory: «Crazy stuff this post. If even the Uffizi run after Chiara Ferragni, guys we are in very bad shape … ». Again: 550 for Roberta who gives the Uffizi “crazy”: “You covered this masterpiece by putting a subject that represents something else entirely. It’s an insult to Botticelli ». Heavier still Raffypanina according to which “Botticelli is resurrected only to commit suicide.” In defense of the fashion influencer, however, the mayor takes sides Dario Nardella, who chooses Twitter to have his say: «There are people who manage to criticize Chiara Ferragni even if she visits a museum. Are we joking? It will always be welcome for us. Indeed, in such a difficult moment, anyone who wants to support our culture and share the treasures of Florence with the rest of the world is welcome ». Although most commentators focus on the true meaning of the operation: he marketing. For better or for worse. Those “in bad” call it “hustler follower”.

July 18, 2020 (change July 18, 2020 | 08:57)

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