Nocturnal Pilgrimage: Read Our Interview Of Designer Luca Magliano

 
 


interview by Janna Shaw
photographs by
Pavel Golik

I once dreamt of Luca Magliano. I had no idea what he looked like; he appeared veiled but in no way sinister. In one of Magliano’s earlier video presentations, a poem is recited, a sonnet with lines dedicated to each garment displayed. “Out of Saint Teresa of Avila’s Chanel coat I stole one dollar to gift to my golden Wagner jacket.” After this display of romance, I wandered about my own closet, singing praises sweetly and theatrically to my own favourite pieces. Something poignant to this act.

Luca Magliano’s self-titled fashion brand is described as “Quintessentially Italian” and “An Emotional Anthropology”. Since its establishment in 2016, the brand’s collections have unfolded as a personal reflection of the vast imagination of Magliano, who derives inspiration from the works of artists and filmmakers such as Luchino Visconti, as well as his own emotions, encounters, curiosities, and experiences. We spoke with the emerging designer about his FW 22/23 collection and his celebration of solitude and melancholia. We speak about his love for Italy and my love for Italians, we discuss sleep and what follows it. We don’t talk much about clothes. We decide to let those speak for themselves. Read more.

Watch Magliano's SS22 Digital Presentation For Milan Fashion Week

There are four humoral fluids: Melancholic, Sanguine, Phlegmatic, Choleric. These are the temperaments of Magliano's Spring/Summer 2022 characters, inspired by Hippocrates' Humoral Theory. A mash up of new appearances, the central role of upcycling introduced through fabrics recycled from past seasons, new organic dyes and stylistic pastiches. The collection is enriched by a daily gesture of typical Italian good luck charms: the classic broken heart, the chains dedicated to Saint Sebastian, the lucky baby tooth. 

This change of temperaments is the core narrative of the video presented for Milan Fashion Week. The models walk on a white limbo in a melancholic/phlegmatic way, gradually becoming more and more agitated and syncopated. This escalation is guided by the wind of a cinematographic machine, which more and more insistently gives drama to the walk. The choreographer Michele Rizzo organises the movements and their transformation, Tommaso Ottomano films the show, and the music is left to the improvisation of Edoardo Lovazzi, a young 12-year-old drummer.

 
 

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