Francesco Scognamiglio wanted to communicate a message of peace through his spring couture collection, given what he described as the “out of control situation of the world.” Christian symbolism was a strong leitmotif—he titled the collection The Resurrection. Another was his commitment to artisanal craftsmanship.
The designer was personally involved in the making of some of the garments, including the opening look. A mid-length ivory-colored frock in a bouillonné technique, it recalled as one of the first creations his younger self ever attempted in the atelier.
Religious iconography was apparent in many of the pieces, such as in the chiffon tunic framed by a handmade lace encrustation recalling church stucco, with a Christ figure in the center of the chest. The willfully blurred distinction between genders is another of Scognamiglio’s codes, this time represented through the sharp ivory tuxedo with wide satin lapels and the rigorous black pants paired with a lace-decorated chiffon shirt in white.
On the other hand, the designer also believes in extremely sensual femininity enhanced by a touch of extravaganza (hence the homage to Madonna’s Bedtime Stories-era hairdo). Transparent gowns were the main protagonists with three-dimensional sequin and crystal flowers—once again personally crafted by Scognamiglio—or symmetric stone decorations. Then, femininity was further celebrated with fully crystal-encrusted long dresses completed by corsets with conical cups—a clear nod to the 1950s. To close his spring proposal there was an array of wedding gowns: from a richly decorated slip dress to a multi-layered organza one embroidered with droplet shaped crystals on the corset.
