60 61 Un gruppo luccicante, gravitante attorno ad un luogo - quinto piano del 231 East 47th Street, Midtown Manhattan - e ad un uomo, Andy Warhol, padre della Pop Art come pensiero contemporaneo, prima che come corrente artistica. Posta la teoria darwiniana secondo la quale ogni essere viene plasmato dall’ambiente in cui vive, pochi luoghi al mondo più della Factory devono aver saputo custodire quel soffio vitale capace di trasformare un artista in un’icona. Un entourage leggendario e composito che vedeva sdraiarsi, attorno a Warhol e su un altrettanto leggendario red sofa, Edie Sedgwick e Truman Capote, i Velvet Underground e Candy Darling, David Bowie e William Burroughs assieme a un collettivo argentato di altre superstars, vizioso e/o virtuoso, cinetico ante-litteram. A shining group gravitating around a place - the fifth floor of 231 East 47th Street, Midtown Manhattan – and around a man, Andy Warhol, founder of Pop Art as a way of life, before than artistic movement. If Darwin's theory is correct and all of us are shaped by our environment, there were few places in the world with the Factory's vital energy capable to turn an artist into an icon. The entourage Warhol gathered around him was as legendary as it was diverse, and among the stars and superstars who crashed on the Factory's equally legendary red sofa were Edie Sedgwick, Truman Capote, the Velvet Underground, Candy Darling, David Bowie and William Burroughs, together with a sparkling Collective of many other superstars, vices and virtues, kinetic avant la lettre. 6° The Factory Cecil Beaton, Andy Warhol and members of the Factory, New York City, 1969 [detail] courtesy: Cecil Beaton Studio Archive at Sotheby’s, London stage name Five pairs of false eyelashes, perfectly thick eyeliner, an androgynous hairstyle that's very Vidal Sassoon, leopardskin and leggings, ballet pumps, op art prints and chandelier earrings: a star was born - or better, a superstar, as the prophet of apathy Andy Warhol defined her, coining the term. Truman Capote wrote «Warhol wanted to be Edie». She appeared in eleven of his films. «Pop art on legs», he called her. Sedgwick fell hopelessly in love with Bob Dylan, who wrote songs like Just Like a Woman e Leopard-skin pill-box hat for her. The story ended badly. Edie ended badly. An icon was born. Cinque paia di ciglia finte, eyeliner perfettamente marcato, hair-styling androgino molto Vidal Sassoon, pellicce di leopardo abbinate con naturalezza a leggings, a ballerine ultrapiatte, a stampe optical e a vistosi orecchini chandelier: a star was born - o meglio, a superstar, come la definì coniandone il termine quel profeta apatico di Andy Warhol. Secondo Truman Capote, «Warhol voleva essere Edie»; con lei Warhol girò undici film descrivendola come «arte pop che cammina». Si innamorò follemente di Bob Dylan, che per lei scrisse Just like a woman e Leopard-skin pill-box hat. La storia finì male. Edie finì male. An icon was born. 5° Edie Sedgwick Portrait of Edie Sedgwick, 1966 credits & courtesy: Jerry Schatzberg nome d’arte
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