The Roman Forum at dusk served as a breathtaking backdrop for Dolce & Gabbana’s Alta Moda show this evening. The collection, which was showcased along the Via Sacra, the first street of Ancient Rome, celebrated the city’s rich historical classicism while also drawing inspiration from the opulence of the 1950s and ’60s, and La Dolce Vita.
Close to the Basilica of Maxentius, attendees were greeted by a Julius Caesar impersonator and a lyre player mingling with guests. The Basilica of Maxentius (or Basilica Constantini) was a civic building in the Roman Forum. At the time of its construction, it was the largest structure in the Forum and the last Roman basilica built in the city. Curly-haired men clad in vibrant robes enjoyed the warm golden hour on the steps of the Temple of Antonius and Faustina. Meanwhile, in the central piazza, under the shadow of the Temple of Castor and Pollux, a colourful array of theatre troupes, armoured soldiers, and vestal virgins moved gracefully across the runway.
Watching it online, I was completely captivated, except for the scaffolding and bare steel staircase railings, which provided a glaring and rather jarring contrast to the exquisitely beautiful, crafted designs coming down the catwalk.
Still, it was an undeniable visual spectacle, complemented by the presence of over 450 Dolce & Gabbana clients from around the globe, each dressed in luxurious couture and extravagant jewellery, creating an atmosphere of surrealism. The Italian duo are renowned for their guests being almost as fabulous to watch as the show itself.
Domenico Dolce and Stefano Gabbana have spent the last 12 years crafting their Alta Moda collections, attracting a devoted clientele not only through their unique garments but also through their spectacular show locations, including Taormina, Siracusa, Venice, Naples, and Portofino. So why did it take so long to stage a show in Rome? Dolce, who took his bow alone after watching the show from the front row alongside celebrities like Cher, Erling Haaland, Isabella Rossellini, and Christian Bale, explained succinctly: “These people have a vision about beauty.” Gabbana was absent for family reasons.
As the ultimate Italian city, where all roads converge, Dolce spared no effort in his designs. The show opened with a striking deep red velvet cape draped over a strapless dress, with the Capitoline Wolf (the city’s symbol) intricately sequined on the skirt. Following that were a series of armoured corsets reminiscent of those worn by Roman emperors, crafted from gilded brass and paired with flowing chiffon skirts. Stolae, the draped dresses of antiquity, featured padding at the torso to mimic the three-dimensional folds of classical sculpture, creating a stunning visual effect. Simpler versions in vivid hues were enhanced only by gilded brass belts, one inscribed with Veni, Vidi, Vici, while the most sublime pieces were rendered in silk velvet, one in deep purple, the other in rich gold.
The mid-century aesthetic emerged in hourglass and fit-and-flare silhouettes, adorned with micro-pleats or mille-feuilles of sheer chiffon, showcasing exquisite, handcrafted detail and remarkable lightness. Colour, colour, colour: emerald greens, fuchsia pink, neon yellow, gold in abundance - all featured heavily. Long capes crafted from twisted and tufted chiffon in vibrant turquoise or orange echoed the glamour of Elizabeth Taylor’s Cleopatra, beautifully marrying L’Antica Roma with mid-century Hollywood flair.
Additional embellishments included all-over jewel accents, glossy black feathers, and embroideries of marble busts and ancient coins. Some of the silhouettes reminded me of draped sarees paired with golden sari jackets.
The Forum is unlike any other place on Earth, where centuries of architecture coexist. “Underneath Rome today is ancient Rome. So close,” Federico Fellini once remarked. That sentiment was vividly captured in the Alta Moda show, with numerous nods throughout including a particularly bold Colosseum dress that was anything but subtle.
The clients of Alta Moda were clearly enthralled. Dolce found himself swarmed by admirers after the show. Later, at dinner, he offered a pointed critique of the fashion industry’s tendency to rely on formulaic designs in pursuit of a ‘cool’ factor. “Sometimes, fashion kills fashion,” he reflected. “You saw it tonight; people crave energy.”
Indeed, when in Rome…
