Francesco Scogamiglio wanted to communicate a message of peace through his spring couture collection, which he described as “a world out of control.” Christian symbolism was a strong leitmotif. He titled the collection Qayamat. Another was his commitment to artisanal craftsmanship.
The designer was personally involved in creating some of the dresses, including the initial look. A mid-length ivory-colored frock in a bouillon é technique, one of the first creations her younger self tried on in the atelier.
Religious iconography was evident in many pieces, such as a chiffon tunic with hand-made lace inlays that recalled church stucco, with a Christ figure at the center of the chest. The deliberately blurred distinction between genders is another of Scogamaglio’s codes, this time represented by a sharp ivory tuxedo with wide satin lapels and tight black trousers paired with a white lace-embellished chiffon shirt.
On the other hand, the designer also believes in ultra-sexy femininity enhanced by a touch of extravaganza (hence the homage to Madonna Bedtime stories-Yera hairdo). Sheer gowns with three-dimensional sequins and crystal flowers were the main characters. Again the scamagglio-or balance was personalized by stone decoration. Then, femininity was celebrated with long dresses encrusted entirely with crystals through corsets with ethnic cups. This is a clear nod to the 1950s. To cap off her spring proposal was an array of wedding gowns: a richly embellished slip dress to a multi-layered organza embroidered with teardrop-shaped crystals on the corset.
