By Sergio Zambon

Spring/Summer 2014

Galitzine brings in a significant change of scene from the two previous seasons through Sergio Zambon’s collection for Spring Summer 2014.  There is less conformity with a greater semantic independence towards the extraordinary heritage of the Roman Maison.
There’s a new tension, a lighter and more abstract attitude with, at times, some unquestionably sporty accents. Easiness is the keyword in a subtle game of subtraction and elegant irony. The volumes are leaner, more fitted, less opulent and dramatic.
The classic Palazzo Pyjama, Galitzine’s symbolic verbum, takes on unexpected fragrances, including techno ones, as if inevitably searching for further variations. 1950s, 1960s and1980s inspirations, mixed with humour and a totally free vision, exquisitely young and committed.
A cocktail of quotations that runs through the DNA of the fashion house, subverting its acquired sense in favour of an unexpected versatility, a marked power of combination. Almost as if one of today’s fashion bloggers amused herself by redoing a personal mosaic, to reinterpret the iconic pieces of Galitzine poetics according to a knowing aesthetic need, but different and anti-conventional at the same time.
So not just pyjamas but also little geometric dresses, sometimes fluid and other times strictly A-line, encrypted by grids of contrasting lines, by star patterns on an inky night sky in crêpe de chine. The freshness of a never before so graphic and rationale broderie anglaise, twill stretch of Rothko orange silk, tweed that winks at the classic bon ton suit, immediately contradicted by a bouquet of washed and rubberised linens or experimental crinkled cotton poplins.
An exclusive print created by LudovicaGioscia, a Roman artist who lives in London, reworking an image taken from the Galitzine archives, stands out on the black satin mini-dress. Knots and panels of scarves on the hips, two lines of deconstructed, rough axial ruches on the top-tunic, iridescent neo-byzance lurex ogives and obsessively geometric jacquard mosaics, sparse embroidery in pale gold and lunar silver, a handful of crystals and random studs to recall the old Russian allure of donna Irene.
A game of suggestions evoked through a conceptual vocabulary, with a minimalist vision fully revealed in the 1980sslim suit and the snowy Pyjama-uniform, both bearing the word Princess in large black letters. The same word that proudly, almost impudently, seals the beautiful clutch bag. A true object of desire, an emblematic item with a double interrogative nature, which is also dreamy and slightly provocative at the same time.