(SAN)REVOLUTION - not just music, not just fashion
Sanremo is known as one of the most representative events of Italian Culture and, during last years, it has evolved from a TV show broadcasted just at granny home to a stage able to catch attention worldwide.
A new Sanremo for a new era and this edition has not only got music talked about.
What can we ascribe it to?
New protagonists. New conductors. New songs. New OUTFITS: epic, impactful, studied outfits.
A stage where a dress is not just something to dress but rather a vehicle to raise a voice, to kick off discussions on themes which exile from fashion.
Here has come the time to mention Her. You’re just waiting to read a name which actually you already know.
Chiara Ferragni completely slayed this year's edition of a so old style festival.
Chiara and Fabio Maria Damato (Chiara Ferragni’s Brand General Manager) have designed concepts more than dresses and their Blue Fairies was not less than Maria Grazia Chiuri and Daniel Roseberry.
We’ve all seen Chiara’s outfit - be it live watching the Festival or via IG during those days - and they all have a common denominator: art references.
I completely love it.
From the first night the black silk corolla dress with the “Pensati Libera” stole signed by Dior till the gold on blue canvas dress by Schiappareli, all of the outfits have roots in an art predecessor, concept or idea.
The Blue Fairies rediscovered both old traditions and last century artists to build concepts over a piece of clothing and this got such a stunning result not for the idea itself - as many other designers had created collections referred to artist (the 1965 Mondrian collection by Yves Saint Laurent is just an example) but here the difference lays in the fact that the public was not just the fashion maniacs and the denizens of the fashion world but the union of every Italian average citizen who watches Sanremo generation after generation and the whole following of a “mama and digital entrepreneur” as she describes herself.
What do these art outfit say that's so special?
The opening night ones reminded us that every woman is free, unique and must be treated as such for too many times people take the legitimacy to speak out and do harm on and with subjects which do not ascribe them.
Art has often tried to carry out a woman image worthy of her own self, which as such should be treated but too often is underestimated.
In this framework Lucas Cranach the Elder’s Eve, painted at the beginning of XVI century, has been mirrored on a haute couture dress, and focusing on the trompe l’oeil illusion of nudity it aims to remind the observer that each body is exclusively and solely of its own inhabitant.
As too often women bodies have been treated like objects and sadly even more often this sentence has been read just as a commonplace.
Here Maria Grazia dressed Chiara, undressing each woman's body in order to give back the freedom of owning it, and tear up that cage of patriarchal conventions.
Later on, Schiapparelli Creative Director, Daniel Roseberry, remarkably reproduced Yves Klein Anthropometries (as the artist used to call models' bodies impressed on canvas by the blue paint) in gold on a plain blue dress. Not just a copy of a contemporary art artworks but rather a call to action for women to impress their own self - whatever it may be- on their path, in their daily life, as none has the right to act and speak in someone else's place; nor even the right to think that this could be possible.
And there would be so much more to talk about, but I.
We’ve witnessed an old soul festival being the stage for a raising awareness on a not so old topic, a valid discussion, an inquiry on an earnest way to appraise Women.
Hence, thank you Chiara, Fabio, Maria Grazia and Daniel and thank you singers, Amadeus, and all the Cinderella mice who gave us the opportunity to turn our Sanremo nights into a growing path toward progress.