Seven Photographers on Monica Bellucci

Her sensuality carries with it a certain freedom which Monica has gradually come to exemplify. In an unlikely image for a magazine editorial, Pamela Henson photographed her from behind for Vogue Deutschland, adjusting her dress which slipped down her shoulder as she ran down the beach, heels in her hand. Devoid of her face, she could be any woman in Italy, living la dolce vita. For many photographers who she has worked with, Monica represents Italian womanhood, particularly after Malèna, the sensuality of being Italian continuing to shadow her from film to photography – if not through her lying on rocks on a beach, it finds presence in bowls of pasta or fruit around her in editorials. 

Somewhere down the line, the Monica on screen blended with her off-screen presence, by finding its way into photoshoots again by Hansen, where she presents the idea of Monica as a movie star or Ellen Von Unwerth photographing her amidst a room of journalists for Vanity Fair, or her typical celebrity shot of her and Vincent in a car. After Monica’s nude pregnant cover for Vanity Fair Italia, protesting laws against in vitro, her sensuality mingled with the nurturing nature of a mother, with her daughters Léonie and Deva being part of the shoots, as infants – or taking the shape of Pietà mourning her son, for Sebastián Faena for Vogue Italia. 

In many of these photographs, Monica is wearing Dolce & Gabbana, and a new book Monica by Rizzoli charts the actor’s relationship with Domenico and Stefano over the decades. Here, METAL sat down with seven photographers to delve into their memories of working with Monica and the various ways they visualised her femininity over the decades. 

I met the beautiful Monica in 2000 when we were shooting the 2001 GQ calendar with D&G. I liked her from the first moment she crossed the threshold of my studio. It was spring when she arrived for the first time in the studio, wearing cork wedges and a short dress. After a few shots together, she told me that I could photograph her as I liked – even completely naked.

I was interested in bringing out was her strength – her being a powerfully and spontaneously Mediterranean woman, intense in any dress. It was not by chance that D&G chose her as their muse, as a representative of ‘Italianità’. Monica has the beauty of a savage animal that never loses its freedom, not even inside the walls of my studio. On that occasion, I tried to immortalise that wild beauty. She was perfect – she worked intuitively with me, as if she understood my intentions right away. Everything was so spontaneous, natural, full of indescribable poetry. 

In the shoot where she’s lying underwater, the idea was born from the desire of exploring her beauty in a state of suspension and lightness. I wanted the water to soften the contours and transform every movement of Monica, in an elegant and mysterious flow. The subtle petticoat, moving along the water, created an ethereal dance around her body, leaving a glimpse without fully revealing. It was a way to play with mystery and sensuality, to show the delicacy and the strength at the same time. I liked the idea of suggesting, not telling the whole story – a picture that evoked a profound sense of intimacy, almost like a deep dream.

In the one where she wears a coat, I wanted to highlight the contrast between wild elegance and sophisticated charm. The leopard-print coat represents a strong woman, self-confident, almost predatory and I wanted you to feel that mystery and power that emanates. In the visual contrast with the man in front of her, there is a subtle seduction game in which the roles challenge and complement each other. I wanted to tell you about a woman who does not fear her power, who is the mistress of the scene completely. In that gaze, there is also a reference to cinema – to the great film noir – an untold story, a secret understanding that each can imagine and interpret. The fashion for me was also to depict stories without words.

The first time I met Monica was in 2021 – it was for a cover shoot for Madame Figaro. The first thing that struck me was her beauty. I love the movie Malèna, and Monica is stunning and totally fits the image of this divine Italian woman. This is how I see her too – filled with sensuality and sensibility, which creates a diva. Her presence is very hypnotising, and she inspires me a great deal.

We talked a lot about food, wine, and cooking! Pasta and Monica are so famous, and both represent Italy so well. Dolce & Gabbana love using Italian references. Monica is a lovely person to work with. She listens to the story, proposes ideas – there is a real exchange. A cute and funny story – I have a cat in my studio. His name is Jules. He fell in love with Monica on the set and followed her around like a little dog all day long!

In 2010, I was asked to come to Rome to photograph Monica on the set of a Martini x Dolce & Gabbana collaboration, called Martini Gold. I hadn’t had the pleasure of working with her before, and when she arrived on set, you knew an icon had arrived. Despite recently having a baby, her energy for the project was incredible and the love and respect between Monica, Domenico and Stefano was clear to see.

Malèna was the inspiration – I first watched the film in preparation for the project. It’s a really sad film and her performance is incredible and its one of those endings that really stay with you. I am a huge fan of a cigarette in a photograph or film – as a child of the ‘80s, I blame the Marlborough Man for my viewpoint – but the commercial wouldn’t have been approved if Monica was smoking. 

When I shot Monica, it couldn’t have been more Italian. She resonates beauty and the incredible passion for life in Italy, thus I think it is impossible not to photograph her without feeling a connection to her homeland. Monica always seemed to be enjoying herself on set – (she was) super lovely and made working with her a pleasure. Several years later, I was at the GQ Awards in London and Monica recognised me and took time to say hello.

“I wanted to shoot her for a while, but Italian Vogue came up with a condition to not use lights. I was very confused and almost tried to get out of the shoot – I told my agent ‘I need light!’. She said, ‘It’s Italian Vogue – it’s what they want. You say no, they don’t call you back.’ So, I jumped into the cold water – and later I understood. With Monica, you don’t need the usual ‘help’ of the technique photographers use. She's enough. You need to trust her presence. 

She came with Deva to the shoot, who was just a little girl. It was more of a family atmosphere. We had a really good relationship. A few years later I shot her in Rome when she was pregnant, and she called me in Paris a few months after that to see if I wanted to do some images with the new baby, Leonie, because she was staying at the Ritz Hotel. At that moment it was all very improvised, but I realised later what an important chapter it was in her life.

In the photographs taken of her for GQ Italy, it was very improvised. Looking back, I feel I was too young to understand the moment. I just worked very intuitively. Vincent (Cassel) was surfing behind in the sea and Monica didn’t like the cloth. She said, let's do this naked. I just went with the flow. 

I think she is the quintessential Italian of the recent decades – but I always tried to give it a different side. An emotional woman who has been through life’s challenges. Not just a perfect icon. I’m more interested what's behind the appearance of perfection – what did she go through to arrive here today. Oh yes, there were interesting moments but the rules of discretion demand not to share it with the public. Photographers are like doctors – we need trust to do our work!

I am not sure exactly [when I first met Monica]. I think it was in the early ‘90s in Paris. I was so blown away by her beauty, kindness, and charisma. She has an Italian movie star quality which is undeniable, and so seductive. I wanted to capture her natural beauty and its Italian movie star! She is such a pleasure to work with and so easy, she really feels like an actress and gives so much to the shoot. It was always a really fun time. I was always interested in who she is and her inner persona. I tried to connect with that part of her and let her play in any character she wanted to. I love all the photographs I took of her, but if I had to choose one, it would be the one of her at the window of the Winnebago.

I first met Monica in the early ‘90s, when she was a model. I could tell immediately that she would be an actress one day – she was so beautiful and wise. I think my favourite shoot with her was when I photographed her in Paris right after she had her first baby. The shoot was at the Meurice hotel, and she was so glamorous and sexy, and the baby was there. We were in a very large, beautiful suite and it was all perfect. The main concept for the Tatler shoot in 2011 was to capture her sensuality and beauty. Since I have known her before she was an actress, I did not associate her film roles with the shoot. It was just about her beauty. 

I first met Monica much earlier, when I worked on the Matisse story for Vogue Italia in the early ‘80s. She was incredibly easy-going, kind, and open-minded — a natural woman with all the best qualities you can imagine. After that, I collaborated with her frequently for Vogue Italia, Dolce & Gabbana, and Pomellato. Each time, she was simply incredible, and we got to know each other quite well. Despite her fame and success, she remained the same genuine person.

The 1995 Vogue Italia shoot was a special Dolce & Gabbana story for Franca, with Anna Dello Russo as the fashion editor. We shot it in October on a cold, rainy night, staying late into the evening. The concept centered around a nighttime shoot with a dark background, capturing an Italian narrative inspired by Sicilian life — a Fellini-esque vision. It’s hard to say what’s my favourite shoot with her. The Dolce & Gabbana story stands out, as does the Pomellato shoot in bed. The last time we worked together was for L’Uomo Vogue in 2016, which was a memorable experience. The mood was dark and very mysterious.

Monica is completely free with her body — she has no fear of nudity and is very comfortable in her own skin. She’s incredibly easy and uncomplicated to work with. The moment the camera is on, she exudes a Sophia Loren-like presence, effortlessly transforming herself into any character. Her timeless Latin beauty enhances this quality. Back then, she loved starting the day with coffee and a cigarette—it was her way of opening a dialogue and getting into the rhythm of the shoot. Even when dressed in men’s clothing, Monica Bellucci never loses her femininity. She’s always intriguing, effortlessly blending strength and sensuality. That enduring femininity is an essential part of who she is.

I’ve always found Monica extremely warm and captivating. She has a unique ability to eat the camera and seduce the audience — not in a vulgar way, but with a natural elegance. She’s a true seductress. During shoots, I focus on capturing Monica’s essence in that specific moment, rather than making her replay a movie character — unless it’s necessary for promoting a particular film. To me, Monica is always a woman of the moment.