By Rebecca Ceccatelli and Giulia Piceni.
Amidst the emotions, stress, and performance anxiety, the final fashion show is always the most incredible event of the year. On the night of June 13, during the highly-anticipated Pitti Immagine week, an extraordinary display of creativity unfolded within the ancient walls of a Florentine palace. This seemingly perfect fairytale setting merged tradition with modern technology, arts and fashion. Read on an insider’s chronicle of the event.
WHY A FASHION SHOW STARTS BACKSTAGE
The boxes labelled “fragile” from the previous day now lie open and unsealed, placed in the background, with their contents finally finding their place. Today is the day of The Witness, graduating fashion show set at Palazzo Ximenes in Florence.
The first few models move through the backstage rooms, some sitting on the floor waiting, others grabbing a Caesar salad and a cup of juice to ease the tension. Here, the designers, with the support of the professors, are applying the final touches to their collection of garments.
The mannequins, no longer bare, now showcase their future inhabitants and serve as support for the final steaming practices. Where necessary, the last stitches are sewn by expert hands. Soon, the garments will be transferred to the models, who are meanwhile being attended to by hairstylists and make-up artists, each creating a unique look for each collection. In a room filled with bright LED lights and mirrors, the models wore looks that featured skin textures reminiscent of Maison Margiela’s style, including both ceramic-inspired and concrete-like textures on their faces. Their hairstyles ranged from messy, just-woke-up looks to super-structured styles adorned with silver hair clips, which seemed to be meant for removal but were actually an integral part of the overall look.
But with a curler and tons of gel, it’s almost time for the final fitting. “Designers, please accompany your models upstairs!” orders the staff. The first catwalk begins directly from the backstage. Fuchsia organza creations head towards the stairs, followed by acid green fabrics and floral knitted capes over dark, sombre foundations. Soon, the chaos of the backstage falls silent, leaving a deserted space. The moment of the fashion show had arrived.
FLASH, LIGHTS AND LET THE FASHION SHOW BEGIN
Blue lights reflect the colour of the carpet leading up to the ballroom on the first floor. The guests are now hurrying to find their seats among the rows of steel benches lining the runway. On the left, a tableau vivant draws a few curious glances. Models, arranged in organised rows, stand still in their outfits – sometimes bulky and heavy – waiting to come to life under the bright spotlights.
The show starts with the harmonious playing of a harpist during the entrance, which gradually fades as the mysterious sound designed by Emiliano Zelada takes over. The lights dim, and the show finally begins: the first piece by Greta Peccia sets the catwalk in motion, and the spectators’ heads start to move from left to right and back again, following the procession of the students’ creations.
The tableau vivant slowly dissolves from a static image into slow and mysterious walks, transitioning from the rapid strides of futuristic men to swaying, confident steps with Indian vibes. The sounds, ranging from super romantic to aggressive rock, enhance the experience, highlighting each collection. But soon, amidst phones held high, capturing favourite looks and whispered comments, Angela Huang’s final look concludes the show right before the second appearance of a selected outfit from each of the 10 collections, this time accompanied by its designer. As the show comes to an end, a wave of applause and shouts of congratulations fill the air. Some people are seen wiping away tears during the most emotional part of the night. As the atmosphere begins to relax, it’s finally time to celebrate. Francesca Giulia Tavanti, the Director of Education, stands up and applauds while the blue lights brighten once again to guide the guests out of the ballroom.
TRIGGERING WORDING OUTSIDE THE EXHIBITION ENTRANCE
The Post-Internet aesthetic of the video The Witness (2024) captivates the crowd with layered, blurred imagery along with acid hues and the psychedelic appearance of words following a synthetic rhythm. It’s the latest work by the creative collective Rosina Bella. The video is the first thing visitors see before entering the exhibition and sets the tone for the exhibition section.
The colour-gradient words on the screen, bathed in a vintage PowerPoint aesthetic, draw the viewers in and prompt introspection: what does it truly mean to be a witness? As stated during various frames, besides being the privileged witnesses of a creative process during the show, the viewers should also recognise that they are constantly immersed in a state of witnessing. Whether it is the changing state of planet Earth, the manifestations of the infinite, or creativity, we always find ourselves as conscious observers.
Through the destabilising succession of images in the video, the multifaceted concept of being a witness unfolds in its entirety, pushing the guests to explore the exhibition section.
WITNESSING THE PROCESS: FASHION SHOW ON THE GO
Guests enter the exhibition venue on the ground floor of Palazzo Ximenes in Florence, using maps on their phones as a curatorial decision to minimise waste materials.
The darkened environment, enhanced by strategically placed LED screens and spotlights, creates a cohesive colour scheme that highlights the diverse items on display. Clo3D animations created by designers provide additional insight into the collections, and unique video installations by the school’s artists surprise the guests as they move from room to room.
The exhibition begins with a blend of machine and nature, imagining a meeting between Romanticism and the “man of tomorrow”. The mechanical chiming of Max Putrino’s 3D printer greets guests, highlighting vulnerability in an uncertain technological future. Nearby, Angela Huang’s AI-generated portraits and 3D designs add a Romantic layer to the environment.
As the exhibition continues, diverse realms converge, from kombucha bacteria by Great Peccia to traditional Indian threads. Yanni Malhotra unveils her collection, blending European and Indian heritage through intricate crochet designs. Nora Bagdasaroglu’s creations float between physical and digital forms, while Lorenzo Risani’s video captures the playful interactions of liquids, bringing a microscopic world to life.
Next, a circus of perception challenges the senses. Tara Pitoni and Matilde Tasselli enhance this space with saturated colours and textures. Mirrors amplify self-perception, transitioning from consciousness to sleep. Their work, paired with Francesco Agazio’s ‘corridor of eyes’, delves into the subconscious through animated videos and crochet designs.
Entering the next space, vivid memories of a past that had not truly faded come to the surface. Anna Gervasi’s tribute to her father features garments facing ocean waves filmed by Asia Niero. This blue ocean symbolises a desire, a memory, and a statement, blending personal loss with artistic expression.
Finally, Sophia Cuomo and Sergio Catania explore identity construction. Cuomo’s work, alongside Margaret Mitchem’s video, captures male identities. To conclude, Sergio Catania’s brutalist concrete manipulations paired with Duccio Maria Gambi’s floating concrete blocks create a striking finish to the exhibition journey, guiding all the guests into the garden.
SOUNDS LIKE A REWARD
After the successful completion of this highly creative and engaging event, it was imperative to host a party for everyone involved. Designers, stylists, curators and tutors came together to celebrate through laughs and a few drinks, sharing memorable moments that defined their journey. All the efforts made in pattern making, creative research and much more had been recognised and finally celebrated.
Rebecca Ceccatelli, Giulia Piceni
Undergraduate Arts Curating students in Arts Curating at Istituto Marangoni Firenze
