Florania: If We Are All One
PublishedFlorania’s latest show, “If We Are All One, You Can’t Hurt Me,” unfolds less as a collection and more as a constructed idea, one that sits between material, body, and...
Florania’s latest show, “If We Are All One, You Can’t Hurt Me,” unfolds less as a collection and more as a constructed idea, one that sits between material, body, and system.
Presented within the Lineapelle Designers Edition, Flora Rabitti continues to develop a practice grounded in transformation. Not transformation as concept, but as process. Materials arrive already marked by a previous life, cuttings, remnants, fragments; and are reworked into garments that don’t erase their origin. They carry it.
Recovered tailoring wool and satin smocking jacket, distressed knit draped corset and trousers; a heavyweight armour cuts hoodie, paneled wide trousers in faux pony skin.
Bias cut recovered silk hand sewn dress with selvedge embroidery.
Leather becomes central here. Not treated as a surface, but as structure. Pieces are assembled through patchwork, perforation, and layering, creating forms that feel rebuilt rather than designed from scratch. Jackets, skirts, and dresses hold tension between rigidity and softness, as if still negotiating their final shape.
Recovered cotton smocking jacket, tulle printed flare leggings, bodysuit and a silk plissè printed dress and tights - both outfits created in collaboration with Kyocera's sustainable inkjet textile printer “FOREARTH”.
There is a clear discipline in the silhouettes. Even when surfaces appear crumpled or interrupted, the construction remains controlled. The garments don’t collapse into deconstruction; they maintain a sense of balance. That precision shifts the reading of the work, from expressive to intentional.
Satin hand sewn shirt with fabric selvages and fraying, round shaped jeans in recovered cotton and metal buckle closure, Florania’s original printed tank top in wool blend.
Florania defines its approach through three pillars, but they operate less as statements and more as working conditions.
Vegetable dyes draped knit dressre, and a covered leather patchwork coat with lapin, recovered jeans denim patchwork jacket, organic cotton longsleeve, metal studs paneled shorts.
Circular: not as a narrative of sustainability, but as a starting point. Existing materials dictate the outcome, not the other way around.
Genderless: garments are built around the body as form, not identity. Proportion replaces categorisation.
G-local: production remains tied to place, working with local partners like Drittofilo Mantova, while addressing a broader system of making.
Recovered leather bomber jacket with overlapped shoulders, padded denim corset with belt, Florania’s original print tulle top with open back, recovered leather full skirt.
There’s also a subtle alignment with solarpunk thinking - not in imagery, but in logic. An approach where design, responsibility, and optimism coexist without contradiction.
Florania doesn’t present finished answers. The work feels ongoing, almost in negotiation with itself. What remains is not only the visual language, but the process behind it — one that suggests a different way forward.
Viscose satin hand sewn shirt and organic cotton and wool tank top; a paneled high waist japanese inspired trousers, original Florania print tulle bias dress with cape - both outfits printed and created in collaboration with Kyocera's sustainable inkjet textile printer “FOREARTH”.
