Antonio Marras Hosts Whimsical 'Wedding' for Spring 2027 Collection!
Antonio Marras Hosts Whimsical 'Wedding' for Spring 2027 Collection!
Antonio Marras's Spring 2027 Ready-to-Wear show in Milan transforms into a post-wedding celebration of imperfection, layering, and rich Sardinian heritage. Discover the unique fusion of fashion and artistry.
Antonio Marras, known for his theatrical presentations, took his Spring 2027 Ready-to-Wear collection outdoors after a season spent inside. The designer staged an evocative show at the Giardino Vincenzo Muccioli, a public park in Milan's Tortona district, transforming a basketball court into a unique banquet setting.
The invitation itself was a wedding announcement for Ippolita and Antiogu, set in Alghero, “the midday after St. John's night.” A long banquet table, adorned with overlapping rugs, awaited the audience who sat with the familiar impatience of guests expecting the bride and groom.
Marras explained backstage, "A wedding is the moment when different people come together.
This is the wedding of the day after, when we're a little wrecked, a little tired, when everything is a bit undone, disheveled, unhinged."
He continued, highlighting his design philosophy: "Fashion also has a duty to unhinge things, to take things apart.” Marras described his process as starting minimalist but then getting lost in the details, needing "to encrust, dirty, embroider, leave the marks of our existence.” This vision was vividly brought to life in the collection.
The designs showcased a rich tapestry of textures and patterns. Checks and stripes boldly collided with painterly floral motifs and Marras's signature reworked camouflage. Military trousers were given a delicate touch with sequined lace flowers, while a navy jacket banded in fringe was layered over a lace skirt.
A sprigged chiffon shirtdress was cinched with a boned corset, and argyle knee socks peeked out from under tailored shorts, creating unexpected juxtapositions. The collection culminated in a striking series of black ensembles, including a strapless ball gown with an embroidered bodice and a dramatic lace veil.
A new collaboration with Giovanni Raspini introduced jewelry featuring Sardinian masks, geckos, and flowers cast in burnished bronze, further emphasizing the collection's deep roots. Sardinia, a constant source of inspiration for Marras, was subtly present throughout. “We are the stratification of an existence,” he noted, referencing the island's diverse historical influences: “Phoenicians, Romans, Greeks, French, Spanish: everyone arrived in Sardinia and left traces.
I put my hands into that endless reservoir.
It's a DNA made of small fragments, the way my fashion is made of small details you discover as you go.”
Even the show's title, “A Midsummer Midday Wedding,” held a layered meaning, nodding to Shakespeare's midsummer comedy and the union of Theseus and Hippolyta (Ippolita in Italian), with Antiogu being the Sardinian form of Antioco. The finale was a truly memorable moment: models returned in pairs, each carrying their own chair: on a shoulder, upside down, or held flat: before taking a seat at the table.
Then, former Royal Ballet principal Edward Watson dramatically climbed onto the table, revisiting the iconic banquet-table dance from Miloš Forman's film 'Hair,' set to the heartfelt tune of “Dio, come ti amo” by Paola Turci with Paolo Fresu. The 'newlyweds' closed the show, the bride in ecru tulle and a veil, and the groom in an embroidered short suit and white socks, completing a truly unforgettable spectacle.
