Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The Associated Press

13:59 JST, January 23, 2025

PARIS (AP) — For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French fashion capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.

The message, as curator Florence Muller puts it, is direct: “Yes, Italy does it too.”

The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is a not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. “The story of couture is global,” Muller explained. “Embroidery, lace, brocade — they existed long before Parisian couture, in Italy, in India, and beyond.”

Spread across 1,200 square meters of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company’s Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana’s work.

Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice’s Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark’s Basilica. Muller described it as “a sculpture on textile — pure craftsmanship elevated to art.”

Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini’s Norma, while a romantic blue dress for Verdi’s La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.

But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana’s Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors’ eyes. “This seamstress is sewing lace to form a dress, while another is draping fabric by hand,” Muller said. “It’s extraordinary. This is not just fashion — it’s art.”

Sicily, Domenico Dolce’s birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion’s often ignored global influences.

“Luxury goods and artisans traveled more than we think,” Muller said. “The silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors … [Fashion] is constant exchanges and inspirations — this exhibit reveals what time forgot.”

Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and Paris Fashion Week sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains — “the little hands” — the artisans whose precision and passion elevate couture to art.

“The techniques may differ — Sicily’s lace traditions versus Paris’ tailoring — but the soul of couture remains the same: the human touch,” Muller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.

Even beyond couture, the exhibit highlights the breadth of “Made in Italy.”