{"id":9862,"date":"2024-06-27T15:04:37","date_gmt":"2024-06-27T13:04:37","guid":{"rendered":"https:\/\/www.marsilioarte.it\/?post_type=magazine&#038;p=9862"},"modified":"2024-06-27T15:04:37","modified_gmt":"2024-06-27T13:04:37","slug":"exhibition-fashion-uccelliere-farnesiane-rome","status":"publish","type":"magazine","link":"https:\/\/www.marsilioarte.it\/en\/magazine\/exhibition-fashion-uccelliere-farnesiane-rome\/","title":{"rendered":"Fashion takes flight at the Uccelliere Farnesiane in Rome"},"content":{"rendered":"<em>Rara Avis. Moda in volo alle Uccelliere Farnesiane<\/em> is the title of the exhibition staged at the Uccelliere Farnesiane in Rome until 21 July 2024, the catalogue of which is published by Marsilio Arte. We asked the curator, Sofia Gnoli, to tell us a bit more about it.<br \/>\r\n<br \/>\r\n<strong>The exhibition that you curated at the <\/strong><strong>Uccelliere Farnesiane<\/strong> <strong>on Palatine hill activates an intense dialogue with the exhibition space.<\/strong> <strong>Can you explain why and what was the idea that gave rise to this exhibition?<\/strong><br \/>\r\n<br \/>\r\nWhen Alfonsina Russo and I asked ourselves what exhibition to do in a place of astonishing beauty that are the Uccelliere Farnesiane, after various doubts, we thought of restoring them to the use for which they were born and populating them with visionary \u201cbird\u201d clothes and accessories. <em>Rara Avis<\/em>.\u00a0<em>Moda in volo alle Uccelliere Farnesiane<\/em> was born precisely from that premise. If feathered clothes and accessories are infinite, \u201cbird\u201d clothes are much rarer. So it is that like two Wunderkammer, the \u201crooms of wonders\u201d, which between the sixteenth century and the following century housed collections of natural and artificial curiosities, the Uccelliere Farnesiane today welcome visionary clothes and accessories.<br \/>\r\n<h2>INTERVIEW WITH SOFIA GNOLI<\/h2><br \/>\r\n<strong>The connection between the universe of fashion and the ornithological one has ancient origins.<\/strong> <strong>Would you like to briefly retrace with us its history and its development over time?<\/strong><br \/>\r\n<br \/>\r\nUnsettling or benevolent, in any case metaphorical, birds have belonged to the lexicon of appearances since ancient times. Such is the case of Maat, goddess of justice in Ancient Egypt, often represented with feathered wings, as well as the Harpies of Greek mythology, monstrous creatures with a woman\u2019s face and the body of a bird or a mermaid. In the myth recounted by Ovid the sirens, who before were just the young girls who accompanied Proserpina, became birds. Then let us think about the last quarter of the eighteenth century, when Marie Antoinette was all the rage with her very tall hairstyles teeming with stuffed birds and small cages. Or the end of the following century when, in his social chronicles, Gabriele d\u2019Annunzio, interpreting fashion as fetishism and \u201csex appeal of the inorganic\u201d, focused on the \u201canimal\u201d charm of clothes and accessories. Like when in 1885 in the pages of <em>La Tribuna<\/em>, under the pseudonym Duca Minimo, he described peacock feathers, an indispensable accessory for seduction at the princess of Sagan\u2019s ball inspired by La Fontaine\u2019s fairy tales.<br \/>\r\n<h2>THE EXHIBITION AT THE UCCELLIERE FARNESIANE IN ROME<\/h2><br \/>\r\n<strong>\u00a0<\/strong><strong>What are the most iconic clothes and accessories among those exhibited in Rome?<\/strong> <strong>Is there any anecdote about them that deserves to be mentioned?<\/strong><br \/>\r\n<br \/>\r\nThe black swan dress comes to mind, composed of a draped lace skirt with a tulle train and a bustier entirely covered in goose feathers that ends with a swan\u2019s neck and head that wraps around the back of the neck, created by Alexander McQueen for Givenchy (haute couture autumn-winter 1997), which recalls Odile from Tchaikovsky\u2019s <em>Swan Lake<\/em>, as well as the white swan by Maria Grazia Chiuri for Dior (Cruise Collection 2022), inspired by a costume sported by Marlene Dietrich in 1935. But I would also like to mention Anna Piaggi\u2019s dreamlike headdresses, the true \u201cRara Avis\u201d of the exhibition, and the colourful dresses by Jean Paul Gaultier and Thierry Mugler.<br \/>\r\n<br \/>\r\n<strong>In addition to the clothes and accessories, the setting also plays a leading role.<\/strong> <strong>How did you imagine it and then realize it?<\/strong><br \/>\r\n<br \/>\r\nThe exhibition design is immersive, with projections of dreamlike landscapes and sounds and noises from nature. I imagined a more dramatic aviary dedicated to the myth, composed of black, white and gold specimens, and with a part that is a tribute to the \u201clegendary\u201d Anna Piaggi and an aviary like a kind of Garden of Eden \u201cpopulated\u201d by very colourful clothes.<br \/>\r\n<br \/>\r\n<strong>Interview by Arianna Testino<\/strong>","protected":false},"featured_media":0,"template":"","meta":{"inline_featured_image":false,"footnotes":""},"categorie_magazine":[341],"class_list":["post-9862","magazine","type-magazine","status-publish","hentry","categorie_magazine-books-from-marte"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Fashion takes flight at the Uccelliere Farnesiane in Rome - Marsilio Arte<\/title>\n<meta name=\"description\" content=\"&quot;Rara Avis. 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