PARIS (AP) 鈥� For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.
The message, as curator Florence M眉ller puts it, is direct: 鈥淵es, Italy does it too.鈥�
The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is a not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. 鈥淭he story of couture is global,鈥� M眉ller explained. 鈥淓mbroidery, lace, brocade 鈥� they existed long before Parisian couture, in Italy, in India, and beyond.鈥�
Spread across 1,200 square meters (1,400 square yards) of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company's Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana鈥檚 work.
Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice's Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark's Basilica. M眉ller described it as 鈥渁 sculpture on textile 鈥� pure craftsmanship elevated to art.鈥�
Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini鈥檚 Norma, while a romantic blue dress for Verdi鈥檚 La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.
But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana鈥檚 Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors鈥� eyes. 鈥淭his seamstress is sewing lace to form a dress, while another is draping fabric by hand,鈥� M眉ller said. 鈥淚t鈥檚 extraordinary. This is not just fashion 鈥� it鈥檚 art.鈥�
Sicily, Domenico Dolce鈥檚 birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion's often-ignored global influences.
鈥淟uxury goods and artisans traveled more than we think,鈥� M眉ller said. 鈥淭he silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors ... (Fashion) is constant exchanges and inspirations 鈥� this exhibit reveals what time forgot.鈥�
Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains 鈥� "the little hands" 鈥� the artisans whose precision and passion elevate couture to art.
鈥淭he techniques may differ 鈥� Sicily鈥檚 lace traditions versus Paris鈥檚 tailoring 鈥� but the soul of couture remains the same: the human touch,鈥� M眉ller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.
Even beyond couture, the exhibit highlights the breadth of 鈥淢ade in Italy.鈥� Everyday items like Smeg refrigerators and coffee presses given a D&G reworking reflect the ethos of Italian craftsmanship, transforming functional objects into canvases for artistry.
鈥淔ashion is art. It鈥檚 meant to inspire, to dazzle, to make us dream. Whether you wear it once or never, its value is in its beauty, not its practicality,鈥� M眉ller said.
When asked about hyperbole of the dazzling gowns 鈥� many of which seem impossible to wear on the street 鈥� she replies with a smile: 鈥淪o what?鈥�
Thomas Adamson, The Associated Press
