Fiorucci opens an imaginary square where desire and irony redraw the body

There are places that don’t exist, yet we inhabit them. Spaces not on maps, but which we instantly recognize because they are activated by memory, desire, fantasy. Piazza Fiorucci is not a square as such, but an emotional geography: a crossroads between the urban and the dreamlike, between the hyperreal and the absolutely impossible. A meeting point suspended in time where everyday life is translated into a visual language so exquisitely artificial that it ceases to seem fictional.

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This new Fiorucci collection isn’t presented as a succession of garments, but rather as an expanded narrative fashion installation. An autonomous, autonomously illogical universe that finds in the folds of the city—the most dissonant, the most poetic—the initial spark to imagine an alternative reality. A reality tinged with sugar and electricity, where bodies become canvases and style a performative act.

Inspired by the multicultural vibe of Via Paolo Sarpi, a vital artery in Milan, the proposal is born from the tension between the concrete—the asphalt, the neon lights, the signs, the neighborhoods—and the impossible: a piazza that isn’t walked through, but rather dreamed. Artifice is key here. Nothing is meant to appear natural. Everything is deliberately amplified, as if the gaze were passing through the filter of a hyperaesthetic child, reinterpreting the world from a visual logic as free as it is absurd, as brilliant as it is political.

The collection unfolds like a nonlinear script. Every piece, every accessory, every graphic detail seems taken from an impossible scene: drawings come alive, characters are confused with humans, time dissolves into a limbo between a 90s sitcom and a music video from the beginning of the century. The visual language is defined by the collision of references: the codes of streetwear merge with the grammar of fairy tales, the graphic becomes emotional, and pop symbols are dressed in post-digital melancholy.

Contrast emerges as a founding principle: tenderness becomes eroticized, childlikeness becomes complex, and the banal is elevated. Silhouettes hug the body with playful precision: T-shirts that contract into baby-fit versions of themselves, pencil skirts that evoke retro-futuristic lines, and pants that mutate into leggings like graphic second skins. Heart-shaped tops mark the chest as a symbolic gesture—more affective than anatomical—and ruffles transform into sculptural belts that hark back to both the world of comics and high fantasy.

The collection, however, is not only interpreted through form. It is activated through matter. The textile palette combines traditional fabrics—crepe de chine, denim, cady, oxford—with altered materials: recycled PVC, mesh, tulle, nude sheaths, and technical fabrics such as polynylon or cavalry polyester, creating an interplay of layers, textures, and transparencies charged with tactile eroticism. There are also innovations such as glossy coatings, silicone effects, and Tyvek, which simulates industrial paper.

Visually, the proposal exploits a chromatic triad that defines its vital energy: candy red, artificial sky blue, retro-futuristic advertisement white. A range that doesn’t seek subtlety, but rather emotional impact. This universe expands through prints that reinterpret romantic icons—angels, hearts, cupids—in an ironic, distorted, glitchy way. Stripes that burst like popcorn, polka dots that melt into hearts, pixelated poodles with impossible bows.

Janine Zaïs’s intervention in the show reinforces the performative dimension: the models, transformed through body paint into hybrid characters somewhere between caricature and mythological creature, parade as if it were an animated sequence. The most iconic scene: a model with her face transformed into a dog’s snout, covered in an all-over print, embodying this duality between absurd humor, animal tenderness, and digitized high fashion. Everything is theater, but nothing is a lie.

The aesthetic is completed with ironic accessories that act as emotional statements. The slogan “Make Hearts Beat Again,” featured on T-shirts and caps, is simultaneously a plea, a kitsch gesture, and an emotional micro-revolution. Fashion doesn’t speak of itself, but of the body that inhabits it, the affection it generates, the desire it evokes.

As a whole, Piazza Fiorucci is not just a collection: it’s a declaration of principles. An invitation to see the world as if we were still capable of wonder. As if imagination were the most accurate language to narrate the present. As if identity were something fluid, expansive, in permanent aesthetic and affective transformation. It tells us: yes, you can be a cartoon, a video game character, an urban creature full of love. You can inhabit that impossible square. You can be all of them at once.

We talk with Francesca Murri, creative director of Fiorucci.