The works of Roberto Capucci with their " amazing aesthetic presence " have been my main source of inspiration. " The emotion is all ispired by the color and the amazing abstract form... clothing armor , that set aside the natural contours of the body and provide idols , abstract gods that do not have physical and material needs" (Roberto Capucci at Palazzo Fortuny ) .
Starting right from the armature , the project lays the groundwork in History of Costume , identifying the ruff as a subject to repropose and transform.
The ruff can be understood both in metal as part of medieval armor to protect the throat from slashes , both in fabric : the particular imposing stiff collar and pleated lace that was part of the male and female aristocratic clothing from the sixteenth to the seventeenth century , defining the severe style and high-necked dictated austerity in times of counter-Reformation, which canceled any shape and softness of the body.
My idea is a kind of armor , a protective accessory for the contemporary woman , a defense against freezing of urban life, a tool that can be distinctive and unique in the desert of massification .
I conceived, therefore, an accessory that I wanted to call " CARAPACE " , associating the idea of exoskeleton, which as in the case of some animals , protects and at the same time identifies and enhances the individual externality .
It basically consists of two elements , wearable also separately .
The first is a kind of scarf made by sewing together some silk ribbons of various colors, in order to reproduce the Capucci's typical pleated gowns.
The form, inspired by the dress " Spire " is obtained thanks to the inclusion of four steel cables in shape memory , in the guides made during sewing and shaping the scarf . The magnetic clasp is placed on the front. The structure described has the dual function of maintaining the shape and at the same time allow to shape and transform the accessory. Is then possible to remove easily from the neck the first element, also with the convenience of being able to fold in on itself and put it in a bag of fabric. On the surface of fabric were two holes , profiled in gold, necessary to also wear the second element and complete the accessory . The second item is a necklace made of onyx and gold, with a medallion that mimics the one on the dress , and the clasp is located on the front .
Starting right from the armature , the project lays the groundwork in History of Costume , identifying the ruff as a subject to repropose and transform.
The ruff can be understood both in metal as part of medieval armor to protect the throat from slashes , both in fabric : the particular imposing stiff collar and pleated lace that was part of the male and female aristocratic clothing from the sixteenth to the seventeenth century , defining the severe style and high-necked dictated austerity in times of counter-Reformation, which canceled any shape and softness of the body.
My idea is a kind of armor , a protective accessory for the contemporary woman , a defense against freezing of urban life, a tool that can be distinctive and unique in the desert of massification .
I conceived, therefore, an accessory that I wanted to call " CARAPACE " , associating the idea of exoskeleton, which as in the case of some animals , protects and at the same time identifies and enhances the individual externality .
It basically consists of two elements , wearable also separately .
The first is a kind of scarf made by sewing together some silk ribbons of various colors, in order to reproduce the Capucci's typical pleated gowns.
The form, inspired by the dress " Spire " is obtained thanks to the inclusion of four steel cables in shape memory , in the guides made during sewing and shaping the scarf . The magnetic clasp is placed on the front. The structure described has the dual function of maintaining the shape and at the same time allow to shape and transform the accessory. Is then possible to remove easily from the neck the first element, also with the convenience of being able to fold in on itself and put it in a bag of fabric. On the surface of fabric were two holes , profiled in gold, necessary to also wear the second element and complete the accessory . The second item is a necklace made of onyx and gold, with a medallion that mimics the one on the dress , and the clasp is located on the front .
