Maria Grazia Chiuri & Rachele Regini: Inventing the future

There are certainly aspects that theatre and contemporary society have in common, but also elements of contrast. The common thread lies in the concept of representation: theatre is representation, and in contemporary times, we talk a lot about it. However, there is also a distance, because nowadays representation is often mediated by video, whereas in theatre it happens live, with the performer and the audience both taking part in the performance in some way.

My generation is defined by scrolling, by the constant consumption of increasingly short and performance-driven content, designed to instantly capture our attention. We were almost born with ADHD, with the inability to concentrate on anything for long.

Our alchemy and working relationship are things we truly had to earn and nurture. It didn’t happen instantly, but we were immediately aligned in our shared vision for the project — across the board: from collaborations with artists to the way these should be communicated and brought to life, all the way to the mood and spirit the collection should embody and express. Ultimately, the space where our collaboration flourished was exactly in this shared global vision.

For me, working collaboratively feels very natural — not only with Rachele but also with the entire team. Of course, this needs to be managed, especially when it comes to balancing one’s private life — trying, as much as possible, not to bring work home. It’s essential to preserve personal space, otherwise the professional relationship risks becoming all-consuming, especially because we are so passionate about what we do. I don’t believe working together is easy for anyone, but I do believe that’s its beauty: it generates immense, mutual enrichment.

The opportunity to express it allows one to discover that there are people who are interested, or who, in some way, share similar visions and challenges. However, there’s no precise moment when you become aware of this: it’s more of a journey undertaken together with others, through which a common sensibility emerges.

I don’t consider this practice to be a form of patronage. In fashion, I’ve always described myself as a community-based creative director. I like working within a community, with others. What interests me most is the creative process, and I enjoy experiencing it with others. Only through dialogue can growth and construction occur.

I’d say my guiding principles are always research, curiosity, and passion. When I fall in love with a project, I commit myself fully to making it happen. I wouldn’t say there are any real warning signs that hold me back in my work.

Sometimes, the most important aspect of these projects is the empathy that develops with others. When there is empathy and a shared desire to build something together, everything becomes easier. A red flag, on the other hand, can arise when that same level of empathy for the project isn’t felt — it’s not personal, but rather a matter of differing visions and paths.

I believe fashion is, above all, a space for dialogue — a territory where different elements come into play, including cultural ones. In my view, fashion itself is a cultural element. Unfortunately, it is often reduced to the idea of branding, but in reality, fashion is how we choose to present ourselves to the world, regardless of what we wear or which label it carries.

In my view, cultural responsibility concerns fashion just as it does all other industries. We all feel the need — as both producers and consumers of images and content — to see a reflection of society that is as authentic and truthful as possible. Even our feminist commitment stems from this need: from the desire to see representations of women that truly resemble us, that exist in the real world. That’s why I believe cultural responsibility doesn’t belong to fashion alone, but to all forms — commercial or not — that express themselves in the world.

I’m truly fascinated by archives in general. In the theatre world, I’ve worked — and continue to work — extensively on the archive of Mimì Pecci Blunt. Archives offer a way to learn, to understand a historical period and its key figures. And of course, when working on an archive, one must make choices: you become a curator, which means providing an interpretation. The archive ceases to be neutral and becomes a specific point of view.

Defining the ephemeral is extremely complex, as it depends greatly on what each person means by the term. Personally, I consider the ephemeral to be something necessary. What we perceive as lasting, on the other hand, is in fact an illusion — nothing is truly permanent. The very idea of permanence, ultimately, is an illusory concept.

Without a doubt, the person from the past I would have loved to collaborate with is Leonor Fini. I’m deeply fascinated by her — not only by her creations and her art but also by her personality. I would have been thrilled to meet her, and if not collaborate, then at least connect with her in some way.

Once again, the concept of “new” is very relative. Something is new simply because you haven’t encountered it yet. I often speak with people much younger than me who find something new that, to me, seems familiar or even old. It’s a dynamic that often plays out in design offices, especially where younger people are involved. In the end, what makes something new or old is the gaze of the observer, their background — not the object itself.

I find it fascinating to explore my mother’s archive: it’s a collection of vintage pieces she’s worn and used throughout her life. I go there, search through things, try them on, wear and rewear them: and that’s where a dialogue begins. To me, they feel new, or I discover things that are new to me but remind her of past eras: things that seem incredibly old to her, perhaps outdated or no longer desirable.

I’d definitely take a book. A book can save you in any situation: it allows you to escape and nurture your imagination.

I’d take a book too: The House of the Spirits by Isabel Allende, which she signed and dedicated to me personally. I’d absolutely run off with that.