Romeo Gigli's SS_2022 collection reveals a hitherto unseen heart, where the essence of the narrative beats in time with introspective craftsmanship. At its core shines the duality of feminine and masculine, protagonists of a style story which has its roots in contradiction, interwoven with unexpected sources of elegance and splendor, which sublimates itself in the sartorial delight of conciliation. With an invisible thread, Alessandro De Benedetti guides us through this evolution on an intense journey of exploration.
From a treasure trove of memories and personal passions, he draws his references: from the sumptuous cinematography of "Picnic at Hanging Rock," and the innocent, ultra-feminine purity of the early 1900s, to the fantasy of the Japanese visual artist, Riyoko Ikeda, with glimpses of the ambiguity of the late 18th century horsemen of Versailles. From these figurative flashbacks, he expands the imagination beyond the merely visual, purifying it with his own reflective concepts: from the early days of fencing, he perceives the alchemy of sophistication and precision in the masculine uniforms that clothe the body like armor yet add elegance of movement: from its fierce pride, he takes the strength of formal synthesis, stripping the garments of opulence and leaving the pared-down nobility of the structural creation.
In every detail, each element tells the story of an exploration of beauty that expands beyond sexual distinctions and blossoms into refined contemporary compositions. In every garment, the whole collection exudes the harmony of a transversal wardrobe: eras meet and blend in a timeless encounter, masculine and feminine references are counterpoised, elaborated in minute detail, and externalized in a celebration of their tailoring identities.
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Shrouded in the inner secrecy of the clothes, the transformation takes place. We find dualism in the jackets, inspired by masculine tailoring, softened by feminine grace and sophistication: in "The Horseman", we see the solid structure sliced in two, then gathered in the softness of the macro-ruffle in crimped macramé, or in "The Count of Fersen", where lacing gives a subtle indication of the corset back that shapes its harmonious silhouette. It can be seen in the contradiction of the masculine truth of the rounded-fly macro-pant that lurks beneath the excessive volume of what appears to be a skirt, or in the stitching, in the canapé plastrons, the honey-combed elastic ruching skilfully hidden in the sides of the dresses and undersleeves: details borrowed from uniforms of past eras, together with inlays reminiscent of fencing jackets and their protective chest padding, hidden in the austere design of the front that dissolves into a charming, low-cut back.
The external simplicity of the fabrics reveals the charm of purification.
The fabrics are natural, some eco-friendly, all with the intention of reinforcing the image of a new, everyday elegance: pure cottons or linen mixes, Comascan silks, Mikado, ultra-light voile, the raw jute of the double berets, the exotic movement of the hand-worked fringed undercollar, the denim of the vintage jeans, deconstructed then reconstructed in "The Hunter". The cotton, embroidered with minute, lace-like floral openwork; the silk tundra which, in its rigid coarseness, supports the wide skirts of "Marie Antoinette".
Color is fundamental: the brightest white entwines with the deepest black cords, the soft lime shades of the walls of Versailles harmonize with fluorescent geranium.
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The presence of Romeo Gigli's creativity and art is a living, subtle and precious essence that can be found in every aspect of the inspiration and craftmanship: we see it in the tulip shapes of the skirts, in the micro-vests that give life to the outfits, and the shirts, like "Origami", where pleats reign supreme. It is a vision that brings back the iconic cape-jacket with masculine buttons, reinterpreted in the purity of washed silk linen, it recalls the historical era of the Pre-Raphaelite women, adding evocative Byzantine touches.
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Exquisitely conceived and constructed, De Benedetti presents a collection, as always, imbued with sophistication, combined with a new pragmatism: a varied wardrobe, where beauty fills every instant of the day; where the dream becomes an outfit, which can be worn from the first light of dawn to the last rays of sunset.
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