This season for Francesca Liberatore goes digital
A difficult choice, reached after profound reflection:
“I am very determined, and until a few days ago I had done my best to ensure that the machine would start up majestically and smoothly actually from a theater with strong partners. I had thought this event could bolster culture, by switching on the lights andshowing a community of intentions, but today, in the face of the Sanremo controversy,a moral problem has arisen for me. First of all, I believe that I must sympathize with those who, at this time, are not allowed to exercise their passion in their places of work.”
P.Rew.:Francesca Liberatore Press Office
The designer Francesca Liberatore, who has always been in search of artistic synergies that have led her to explore different cultural worlds from cinema to art auctions, from music to photography, with her personal portfolio of studies and professional experience to the Moulin Rouge, has constantly melded her art with that of noteworthy experiences.
The search for unusual and innovative concepts has allowed her to discover fresh nuances and reach an increasingly wider audience, as happened in September 2019 at Bagni Misteriosi and in February 2020 at The Space in Piazza Duomo. There in the great hall of the theatre, Francesca Liberatore presented the film J-Kolombina-R, anticipating the new trend for film-shows by many months, which has characterized recent fashion weeks around the world.
“Really in a theater, my clothes would have been actors of themselves recalling the different periods and ways of rebirth from the post-war period, ” adds Francesca Liberatore. “Mine will not be a digital fashion show but the storyboard of what would have been … it will be the digital version of a real narrative, which ‘will be’ because creativity does not stop and that ‘now it is so’ because we are all in the same boat”
And it is for this reason that the designer has sought the essential collaboration with the Società dei Concerti Foundation. Together with President and Creative Director Enrica Ciccarelli Mormone,
the Quartetto Adorno, Gloria Campaner and Roberto Prosseda perform the Fall Winter 2021/22 show with their unique instruments. The collaborations continues with Mario Sesti film critic and movie director, Alessandro Turci professor and fashion critic, Alice Falco photographer and videomaker from longtime closed to the designer.
A thank you on behalf of the designer also goes out to Camera Nazionale della Moda Italiana for the union it is upholding at this moment between the Made in Italy designers via the digital fashion show calendar. “I hope you’ll enjoy it and while streaming will want to comment on it with me, and I hope very soon to make it a reality together, because fashion and art live by immersion and sharing.
I dedicate my experimentation to all the creative people that like myself had to change their plans in accordance to the contingency, to everyone who doesen’t pretend to be called ‘artist’, cause they know the reality of this hard condition, to all the actors, musicians, and to everyone that couldn’t exercise their duties, to the photographers, to my usual team of hair Beppe d’Elia and make up Markus Theisen that I couldn’t have on my side on this occasion, and at last to thater and cinema cause their greatness and and truth cannot be absorb by social arrest”. Moreover, following the success of last season, during which the collection had been auctioned off and auctioned live in benefit of the non-profit organization Golfini Rossi (for the construction of the Mawima hospital canteen – now completed), the collaboration with Casa d’Aste Cambi continues.
“I strongly believe in the value of the fashion vestment and in the freedom of the buyer to be able to evaluate autonomously how much to spend to have it, and the auction, besides fascinating me, succeeds in interpreting and establishing the taste of the market for precious objects. I am grateful to Matteo Cambi for having allowed this venture”.
Fashion Hypothesis
A post-war march becomes a collective acknowledgement toward a new future. The monologue by Mario Sesti, director and film critic, articulates what war and its uniform is; a fabric that interposes itself between body and violence, while 2D cut out models parade from a potential present. The garment becomes an actor portraying itself in the new language of Francesca Liberatore, and the public, the protagonist of their new life path.
The camouflage of coated trench coats acquires a different perspective through the tuxedo with shawl lapels. High-waisted trousers are paired with a bolero in total black for a moment of stasis that already foreshadows a surge of 60s and 70s life with the swing of the super-tailored tartan trench coat. The story has the esprit of film noir, the mystery of an investigation. Maxi skirts and jackets alternate in increasingly wide
proportions where the pattern becomes circular, and the fabrics metallic. Prints on gauzed wool with a shadowy palette of blue, black grey and Turkish red recall memories of the ’90s. The finale is the vision of six empty cases waiting to tell a story of the past, the lived life of manifested presences, white, ethereal, opulent, like ghosts of a possible future, moments of an ultimate luxury that yet does not yield.
The story becomes pressing, accompanied by the soundtrack of classical pieces reinvented by the musicians from the Società dei Concerti with unsettling sound incursions. Time is running out, with the need for a new dynamic and visionary awakening of Fashion.
The choice is between a Matrix-like dystopian future where technology governs and another where nature is reborn as Nature after Nature, liberated by the algorithm. The hologram that pervades the scene is reminiscent of Utah’s extraordinary Pando Forest of golden poplars all generated from the same single immense root. The consciousness of what we are therefore passes through the essential, Country Roads, take me home!
Alessandro Turci
