Orlando is an Italian magazine for beauty lovers, which has the particularity of being conceived with the editorial structure of a hotel.
Made by 4 professional women from the world of art, design and culture,
Antonella Pescetto, Flavia Scarano, Gemma Pizza and Francesca Ametrano, is divided into a sort of "chapters" as if they were the floors of an elegant hotel.
On the ground floor we find food and beverage and gardening, on the first floor a library and exhibition hall where you can entertain yourself in readings on contemporary artists, and so on. Guiding the reader throughout the magazine is Mr. O, the lobby boy who accompanies the reader along this particular editorial sequence.
The mantra of the whole magazine is refinement and attention to detail, well printed on a heavy paper that gives structure and prestige to its contents.
This third issue of Orlando is welcomed by a silk paper cover in green and blue tones that anticipates the beauty of the issue. Between the two pages, once again, a hotel that, floor after floor, leads us to the blanket of art, literature, fashion, food, design, architecture.
Just like the first two, this number also has an important literary work at the center of its essence. After theFurious orlando of Ariosto and theOrlando by Virginia Woolf, we welcome the Portrait of Dorian Gray by Oscar Wild, with all the power of art, beauty, immortality and pleasure contained within its pages.
In an age in which we are led to share every aspect of our life online, because if it does not appear online it is as if it never happened, Dorian Gray becomes the emblem of appearance above all things with everything that goes with it: the concern for the opinions of others, living within those opinions and the impossible desire to exist forever. Dorian Gray is a more human character than can be considered, even in the cruelty of his actions and in his obsession with not accepting mortality. Wild in the preface of the novel states that it is the spectator, and not life, that is the true mirror.