By Giulia Piceni. Photos by Gabriele Busi.
Each June, Istituto Marangoni Firenze’s Graduate Fashion Show does more than launch a new generation of designers; it showcases the school’s very identity. Under the creative direction of Francesca Giulia Tavanti, the Director of Education, this year’s catwalk will transcend its boundaries to become an interdisciplinary organism. Weaving and coding will intertwine with olfactory installations, and styling will evolve into a form of spatial storytelling. Following last year’s theme, The Witness, this new iteration pushes the show beyond the runway and into the realm of an exhibition.
How Creating a Fashion Show Shapes Identity and Inspires Interdisciplinary Collaboration
In this interview, we sit down with Tavanti to unpack the vision behind the event, tracing how the show’s orchestral structure reflects that of the school itself. From the tactile nature of knitwear to the choreography of interdisciplinary collaboration, this fashion show challenges all established norms.
Do you think that creating and designing a fashion show also contributes to defining the school’s identity?
Absolutely. I see a strong connection between my role as Director of Education and my involvement in orchestrating the fashion show. The skills and experiences I draw upon to conceptualise the show are the same ones I rely on when structuring courses, selecting subjects, and appointing faculty. These roles are deeply intertwined. While the outputs differ, both endeavours are guided by a unified vision that seeks coherence across all facets of the institution. This particular fashion show marks the culmination of my three years as Director of Education and my nine-year journey with Istituto Marangoni Firenze. I have witnessed the school’s evolution from its beginnings, observing how it has gradually developed its identity through various projects, academic pathways, and the incorporation of new talent.
Have your previous professional experiences in curating influenced your approach to the fashion show?
Interestingly, I’ve never formally identified as a curator or held a curatorial position. My background is in the art world, with a focus on public engagement, education, and organisational aspects, which aligns closely with project management. Even during my tenure in galleries, I gravitated toward event organisation, which I found immensely fulfilling. The fashion show embodies a combination of these elements: a strategic vision that reflects the school’s identity and the meticulous planning required for successful execution. Over the past three years, I’ve come to realise that my approach closely resembles curatorial practices. Organising these shows has revealed a curatorial dimension to my role that I had not previously acknowledged.
When developing the concept for a fashion show, what serves as your guiding principle?
Each new fashion show is informed by the experiences of its predecessor. The elements that resonated, as well as those that fell short, become the foundation for the next iteration. For instance, the 2025 fashion show TEXT(S)TURE(S) is a direct evolution of The Witness. It’s an extension that builds upon the insights and reflections garnered from that experience. This year’s show, however, focuses on a new theme: we are exploring the duality of Text and Textures, not only in the material sense of weaving, surfaces, and garments but also in the written and coded dimensions of the text. There’s a strong reflection on how fashion, like language, encodes meaning. We are connecting this idea to the contemporary conversation around artisanal intelligence, a concept I have encouraged students to reflect on since last summer. In an age dominated by artificial intelligence, it’s crucial to rethink the value of human touch and process. Craftsmanship is not merely a nostalgic element for us; it is the key to the future of all creative industries.
What was the primary motivation behind this year’s show?
The main driving force was the desire to narrate the diverse identity of our school in a harmonious and cohesive way. While The Witness highlighted individual departments related to the Fashion Design courses, this year, I aimed to place all departments together on equal footing, fostering an inclusive and unified dialogue. I envisioned the fashion show as an orchestra, where each department contributes its unique voice, yet together, they create a harmonious composition. For the first time, this inclusivity extends to such a large number of faculty members across Styling, Art, and Business. Everyone has shared their expertise to build something that is not just interdisciplinary but deeply interdependent.
Interdisciplinarity seems central to your shows. What unexpected collaborations emerged this year?
Interdisciplinarity is central to our approach. This year, we achieved an unprecedented level of collaboration by involving all departments with specific outputs related to their fields. Departments such as Fashion Design, Fashion Business, Fashion Styling, Multimedia Arts, Arts Curating, and the Masters in Olfactory and Accessory Design all played a part. Each of them aligned their contributions with a shared concept, which
elevated the engagement to a new level.
We’re talking about eleven classes and ninety students, all working in sync to create an event that is equal parts runway and installation. For example, students from Styling & Art Direction collaborated with Multimedia Arts students on video narrations, while Fashion Business students conducted a survey to engage the guests attending the show. Additionally, Arts Curating students created video narrations to accompany an extraordinary olfactory installation developed by our Master’s students in Fragrance and Cosmetics. This installation also featured a project from the second year of the Fashion Design programme, in which students reinterpreted the tailoring of the classic white shirt. The students of the Master’s program in Master in Fashion, Art & Textile Innovation developed a series of original patterns based on their design and educational experiences within the Prato manufacturing district and in collaboration with The Woolmark Company. And, finally, a special printed edition of I’M Firenze Digest will be printed with interviews to professional curators, writers, fragrance experts and journalists, to continue reading and thinking collectively on the dialogue between text and textures.
Beyond the involvement of students, which faculty members played a crucial role in bringing the show to life?
This year, the involvement of faculty members was a real breakthrough. It’s the first time we’ve engaged such a broad network of staff across departments. Programme leaders, academic coordinators, styling tutors, business mentors, and art practitioners have all played an active role in shaping the event. I often describe the show as a mirror; it reflects not just the work of the graduating students but also the ecosystem that supports them. That ecosystem includes faculty members, technicians, student services, and even students who are not presenting collections. Together, they contribute to the overall tone of the event.
Reflecting on past shows, what lessons have you learned, and has this latest show imparted any new insights?
One of the earliest and most enduring lessons is the importance of casting. Models are not just bodies on a runway; they are vessels that convey the spirit of the collection. Their posture, energy, and even their breathing all influence perception. Fashion relies on the body for its existence. Unlike art, which can exist independently of its creator or viewer, fashion requires presence. That presence needs careful attention, from grooming and fitting to rehearsals. Additionally, countless micro-decisions can make or break the show, including timing, lighting, and pacing. What this show reinforced for me is that when you bring people together from various disciplines, the key is listening. True interdisciplinarity doesn’t mean working alongside one another; it means working in dialogue. This year, we are crafting a runway that serves as an echo chamber for the voices involved.
