Guardando al futuro, Carpenter è determinata a creare le sue canzoni pensando alla loro potenziale longevità. «Dobbiamo tornare alle origini, essere autentici, se vogliamo essere orgogliosi di ciò che creiamo anche in prospettiva, fra vent’anni», riflette. Non si tratta solo di spettacolo, ma di stimolare la gioia, nutrire la propria comunità. E di lasciare un’opera che possa ancora, in futuro, far ridere o piangere qualcuno.

In copertina: maglione PRADA.

L’intervista a Sabrina Carpenter protagonista della cover di Vogue Italia di Ottobre 2025 lo trovate anche in edicola dal 26 settembre

CREDITS

PHOTO Steven Meisel
Hair GUIDO PALAU
Make-up PAT McGRATH
Stylist assistants CAROLINE HAMPTON, ADRIAN REYNA, MICHAELA SNAVELY
Tailor RAUL ZEVALLOS
Nails JIN SOON CHOI
Set Designer MARY HOWARD
Production PRODN.

Qui sotto il testo tradotto in inglese / Here is the English translation of the text

“I’m always packing or unpacking,” Sabrina Carpenter says from her house in Los Angeles, half-laughing as she prepares for yet another flight, another show, another stage. “So that’s kind of all I do,” she adds, amused by the rhythm of her own rising orbit.
That rhythm has carried her to some of the biggest stages in the world. Carpenter has become known for closing shows with playful, improvised riffs on “Nonsense”, turning the song into a signature moment. Earlier in her career, she opened for Taylor Swift on the Eras Tour, and this summer marked her headlining debut at Lollapalooza, a full-circle moment for a star who’s always found ways to balance wit with wonder. “I left feeling really euphoric,” she says of that first appearance. “You’re just in the middle of the city and you can see everybody and every building and it’s just so cinematic… Now I’m the headliner, so I get to play with the lights off, which is a lot more fun. I like to play in the dark.”
That moment marks a shift, from supporting act to cultural force. But if Carpenter is stepping onto huge stages, she’s doing so without shedding the playfulness that made her stand out in the first place. Performance, for her, has always been about more than music, it is about crafting an image that embraces glamour and irony.

Her recent Vogue cover shoot with Steven Meisel captured that balance. “Initially, I think they told me they wanted to go very natural,” she recalls, grinning. “And then I got there and I had a smoky eye on, I had big hair, and I was like, you know what? This is the way I want to be at this time in my life.”
The shoot, inspired by “German girls in the ’60s”, was moody and black-and-white, part Brigitte Bardot, part Berlin nightclub. She relished the chance to lean into the performance of fashion. “It looked kind of glamour and ’60s and black-and-white and really elegant and moody and Brigitte Bardot and very sexy and so it seems quite exciting to me,” she says.
Working with Meisel for the second time felt electric. “He moves so fast and in such an incredible way. It’s like catching lightning. And I think that’s why. So I just trust him. I don’t really look at the photos. I kind of just take them and then I leave.”
The physicality of the shoot stayed with her too. “I felt like I was bending like a pretzel all day but it was really fun and special and I think they felt really painless in the moment which was cool.” The hair and make up, by Pat McGrath and Guido Palau, let her lean into a look that felt authentically her. “I was so excited to dress up in a way that felt a little bit more like my own personal style. I really resonate with a lot of ’60s, ’70s, the cuts of some of the looks, they just really make me feel super confident.” Even monochrome carried vitality. “Even though most of the shots were in black and white, it still felt like it was kind of really… it was a lot of personality for me.”