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The Pirelli Calendar 2027, a journey to India between fashion and reality / SHOW THE GALLERY
Italy🎭 Culture7 days ago

The Pirelli Calendar 2027, a journey to India between fashion and reality / SHOW THE GALLERY

The Pirelli Calendar 2027 features a special edition set in India, marking several firsts: the first time the calendar has been shot in India, the first time a photographer returns consecutively for two years (Norwegian photographer Sølve Sundsbø), and the first collaboration between two artists, including Avani Rai, daughter of renowned Indian photojournalist Raghu Rai. The photographs capture both fashion and documentary styles, blending Sundsbø’s aesthetic approach with Rai’s legacy. The images were taken in Rajasthan and New Delhi and will be presented at the October event 'The Cal'. Avani Rai expressed her personal connection to the project, emphasizing her father’s influence and the significance of continuing his work. Sundsbø praised the opportunity to honor Raghu Rai’s heritage through this collaboration.

Pirelli’s 2027 Calendar features India through the lens of models and everyday people, shot by photographers Sølve Sundsbø, Raghu Rai, and his daughter Avani Rai. The project marks a unique collaboration, with the Indian photographer Raghu Rai passing away shortly after the initiative began, leaving his daughter to complete his work. The calendar will be officially unveiled later this October in India, showcasing images taken in Rajasthan, Jaipur, and New Delhi. It blends the aesthetic approach of Sundsbø, known for his previous contribution to the 2026 Pirelli Calendar, with the documentary style of Raghu Rai, whose legacy continues through his daughter’s photographs. The concept for the 2027 edition was developed by Pirelli, aiming to highlight India through the eyes of two artists. Sundsbø explains that the idea was to have Raghu Rai focus on the soul of India while he concentrated on capturing people, particularly through portraits. This dual perspective results in a calendar that juxtaposes different visual narratives, with some images overlapping in theme but maintaining distinct identities between father and daughter. The calendar includes both fashion shots and documentary-style photography, reflecting the diversity and complexity of Indian culture. The calendar features a mix of professional models and everyday individuals, creating a dynamic interplay between the two groups. Models such as Padma Lakshmi, Freida Pinto, and Rupi Kaur appear alongside ordinary people captured in streets and symbolic locations across India. Avani Rai, who assumes her father's role, describes the experience as deeply personal, emphasizing the emotional connection she feels towards her father’s vision of India. She notes that completing the project has allowed her to carry forward her father’s legacy, preserving a part of him within herself. Avani Rai reflects on the significance of continuing her father’s work, stating that it represents a profound personal journey. She views the project as a tribute to her father’s deep fascination with the essence of India and its diverse population. Her involvement ensures that the legacy of Raghu Rai lives on, blending seamlessly with the contemporary interpretation of Indian life. Sundsbø, expressing his honor at being invited back to contribute to the Pirelli Calendar, highlights the opportunity to collaborate with Avani Rai and pay homage to her father’s heritage. He emphasizes their commitment to celebrating India and honoring the memory of Raghu Rai through this joint effort. The calendar’s official unveiling is scheduled for late October in India, following the completion of photo sessions conducted in May in Rajasthan and New Delhi. These sessions were designed to capture the multifaceted nature of India, combining the artistic sensibilities of Sundsbø with the documentary depth of Raghu Rai’s photographic legacy. The final product aims to reflect both the cultural richness and the everyday realities of life in India, offering viewers a comprehensive view of the country through the combined efforts of three generations of photographers. The Pirelli 2027 Calendar promises to be a groundbreaking addition to the series, merging traditional and modern perspectives on India. With its blend of fashion and documentary photography, it offers a unique glimpse into the nation’s vibrant tapestry. As the calendar approaches its official release, anticipation builds around how it will encapsulate the spirit of India through the lenses of three dedicated photographers, each bringing their own distinct vision to the table.

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2 reports

Il Sole 24 Ore logoIl Sole 24 OreParty-aligned🔒CenterFactual 88Objective 837 days ago
Pirelli calendar 2027: India told with models and ordinary people

The Pirelli Calendar 2027 celebrates India through photographs by Sølve Sundsbø, Raghu Rai, and his daughter Avani Rai. The project marks the first time the iconic calendar has been created simultaneously by three photographers, including the late Indian master Raghu Rai, whose work was completed by his daughter after his passing in April. The calendar features both models like Padma Lakshmi and Freida Pinto alongside ordinary people, capturing diverse aspects of Indian life across cities and landscapes. The collaboration highlights different artistic perspectives—Sundsbø’s fashion-inspired approach, Rai’s lifelong view of India, and Avani’s contemporary interpretation. The calendar will be officially presented in India at the end of October.

Bias read (Center): The article focuses on cultural and artistic representation, discussing photography, collaboration between artists, and the visual storytelling of India. There is no political controversy or ideological framing involved. The tone remains neutral, presenting facts about the creative process and the c

Why factuality (88): This article confirms the involvement of Sølve Sundsbø, Raghu Rai, and Avani Rai in the Pirelli Calendar 2027, including the completion of Raghu Rai’s unfinished work. It mentions specific individuals like Padma Lakshmi and Freida Pinto, which aligns with the broader narrative of the calendar's cont

Why objectivity (83): The article maintains a balanced tone, presenting facts about the project and quoting Avani Rai's perspective without introducing strong ideological bias. However, there is a slight emphasis on the emotional significance of completing her father’s work, which introduces a minor subjective angle.

ANSA logoANSAIndependentCenterFactual 85Objective 808 days ago
The Pirelli Calendar 2027, a journey to India between fashion and reality / SHOW THE GALLERY

The Pirelli Calendar 2027 features a special edition set in India, marking several firsts: the first time the calendar has been shot in India, the first time a photographer returns consecutively for two years (Norwegian photographer Sølve Sundsbø), and the first collaboration between two artists, including Avani Rai, daughter of renowned Indian photojournalist Raghu Rai. The photographs capture both fashion and documentary styles, blending Sundsbø’s aesthetic approach with Rai’s legacy. The images were taken in Rajasthan and New Delhi and will be presented at the October event 'The Cal'. Avani Rai expressed her personal connection to the project, emphasizing her father’s influence and the significance of continuing his work. Sundsbø praised the opportunity to honor Raghu Rai’s heritage through this collaboration.

Bias read (Center): The article focuses on cultural and artistic aspects of the Pirelli Calendar 2027, featuring photography and collaborations. There is no political controversy or ideological framing involved. The tone remains neutral, highlighting artistic contributions and personal connections without taking a side

Why factuality (85): The article accurately describes the Pirelli Calendar 2027's focus on India, mentioning the collaboration between photographers Sølve Sundsbø, Raghu Rai, and his daughter Avani Rai. It provides details about the locations (Rajasthan and New Delhi) and the thematic elements (fashion vs. documentary s

Why objectivity (80): The tone is generally informative but includes some emotive language when describing Avani Rai's personal connection to her father's work. This adds a subjective element, though it remains focused on the project rather than taking an overtly biased stance.

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