For the first time in their 40-year history, the renowned Italian design duo Dolce & Gabbana have ventured into the French fashion capital of Paris. The exhibition, titled Du Coeur a la Main (From the Heart to the Hand), runs from January 10 to March 31 and serves as not only a tribute to Italian craftsmanship but also a reflection of the interconnected nature of global fashion. Curator Florence Müller emphasizes the exhibit's direct message: "Yes, Italy does it too."
Located in the newly refurbished Grand Palais, the display spans an impressive 1,200 square meters (1,400 square yards) and features over 200 outfits from Dolce & Gabbana's Alta Moda and Alta Sartoria collections, alongside 300 handmade accessories and a variety of cultural objects, including Sicilian ceramics. The exhibition consists of ten themed rooms that explore the deep artistic roots of the brand's work.
The collection is defined by baroque grandeur, characterized by an unapologetic maximalist aesthetic, rich in embellishments. A centerpiece of the exhibition is a striking gown inspired by Venice's Murano glass, encrusted with intricate glass mosaics crafted by Orsoni Venezia 1888, which is renowned for its work on the golden mosaics of St. Mark's Basilica. Müller describes this piece as "a sculpture on textile - pure craftsmanship elevated to art."
Opera themes are prevalent throughout the exhibition. An elegant black velvet gown adorned with golden embellishments captures the dramatic essence of Bellini's Norma, while a romantic blue dress evocative of Verdi's La Traviata embodies the flowing nature of an aria, its tulle layers whispering a tale of love and loss. Additionally, the exhibition features large paintings immortalizing iconic figures associated with the brand, such as Sophia Loren and Naomi Campbell. The audio backdrop combines classical Italian opera and traditional Sicilian folk melodies, enriching the immersive experience.
In addition to showcasing finished pieces, the exhibition also allows guests to witness the creative process firsthand. Five seamstresses from Dolce & Gabbana's Milan atelier will work live, creating bodices, bustiers, and corsets in front of attendees. Müller highlights this interaction, stating, "This seamstress is sewing lace to form a dress, while another is draping fabric by hand. It’s extraordinary. This is not just fashion - it’s art."
Sicily is prominently featured in the collection, given that it is the birthplace of designer Domenico Dolce. The exhibition integrates traditional Sicilian hand-painted carts, ceramics, and lace-making techniques within the couture narrative. Moreover, it sheds light on the often-overlooked global influences on fashion, with Müller noting, "Luxury goods and artisans traveled more than we think. The silk and brocades used at Versailles came from India, and Italian artisans were pivotal in crafting the Hall of Mirrors. (Fashion) is continuous exchanges and inspirations—this exhibit reveals what time forgot."
Historically, Italian and French fashions have been perceived as rivals, particularly with the dominance of French conglomerates like LVMH and Kering, alongside the prestige of events like Paris Fashion Week. However, this exhibition disrupts that dynamic, demonstrating the deep interconnections between the two traditions. Both Italian and French fashion depend on the craftsmanship of "les petites mains," the skilled artisans whose dedication and expertise elevate couture into an artistic form. Müller observes, "The techniques may differ—Sicilian lace traditions versus Parisian tailoring—but the soul of couture remains the same: the human touch."
Beyond the realm of high fashion, the exhibit also highlights the extensive range of "Made in Italy" products. Ordinary items like Smeg refrigerators and coffee presses receive a creative overhaul through Dolce & Gabbana’s artistic lens, transforming functional products into canvases of creativity. Müller further articulates the philosophical underpinnings of fashion, stating, "Fashion is art. It’s 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."
When confronted with questions about the impracticality of many extravagant gowns showcased, each seemingly unfit for everyday wear, Müller replies with a characteristic demeanor: "So what?" This response encapsulates the exhibition's core ethos, celebrating the beauty and artistry inherent in fashion.
