The Milan Fashion Weeks

Laura Biagiotti tenderly captures the light of Rome

In her SS 2027 collection, Lavinia Biagiotti draws inspiration from the aesthetic of old-fashioned postcards and the micro-mosaics her mother loved: ‘The city’s past shapes its future’

Laura Biagiotti PE 2027

2' min read

Translated by AI
Versione italiana

2' min read

Translated by AI
Versione italiana

Fifteen minutes of understated, never ostentatious femininity, in a welcoming venue steeped in history: this is how we might describe the Laura Biagiotti fashion show at the Teatro Studio named after Mariangela Melato. Opened by a brief and poetic performance by Eleonora Abbagnato, a star of the international dance world, and Timofej Andrijashenko, the show pays homage to both Rome and Milan.

Laura Biagiotti, la collezione per la PE 2027

Photogallery20 foto

“Like my mum before me, I love both cities and enjoy, season after season, presenting the echoes of Rome within this theatrical setting that is so deeply Milanese,” says Lavinia Biagiotti, who, as always, respects the brand’s history and is steadfastly committed to guiding it into the future. “For next spring-summer, we’ve created prints inspired by the postcards so typical of tourist destinations, but also by a passion of my mother Laura’s – micromosaics – which, in the days of the Grand Tour, were used as souvenirs, yet are, to all intents and purposes, miniature works of art,” A far cry from today’s magnets, one might add. But the magic that the design team led by Lavinia Biagiotti manages to conjure up time and again is to reconnect with the common thread that made the brand famous – starting with knitwear – without ever resorting to replicas of collections we’ve seen before.

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Al centro, Lavinia Biagiotti, con Eleonora Abbagnato e Timofej Andrijashenko

“Rome has taught me to work in harmony with time. It is a city where the past is never merely a memory: it lives on in the present and continues to shape the future,” concludes Lavinia. It is this same sentiment that, over the years, has led us to look after certain iconic sites: from the Cordonata of the Campidoglio to the fountains in Piazza Farnese, right through to the monumental Fountain of the Goddess Roma. For me, restoration means preserving the beauty we have inherited and passing it on to the future.’ Perhaps this will happen thanks (in part) to revived postcards and micro-mosaics.

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