We have witnessed coherence within evolution at Marco Rambaldi: this collection, titled “Malafemmina,” perfectly embodied the essence of the brand while exploring new apparel and accessories, at times revisiting previous shapes. Set in a dreamy rose garden (the rose being a flower as sharp as the woman he dresses), Rambaldi sent out a lineup to be worn by someone ready to free herself from social constructs, he said. “With this collection we face the concept of freedom, starting from what has been and reaching towards what will be,” he added.
To do that, Rambaldi brought back the heart-shaped stitches that made the brand so recognizable, and a collaboration with Swarovski from the previous season. Chains and crystals were hand-applied to elevate fabrics and fringes, and were combined with Priscilla Anati Studio jewelry, made with upcycled elements such as good luck amulets. Doilies—once the epitome of patriarchy—were deconstructed on top of clothes as symbols of women s empowerment.
Like a true Malafemmina (“bad girl,” more or less), models went down the runway in undergarments. There were heart-shaped tops paired with baguettes, both made of deadstock leather, silk pencil skirts with folded camisoles hanging down, enriched trimmings and exaggerated bra hooks closing broken hearts. Last fall Rambaldi explored our night doppelgängers; for spring the focus was a semi-darkness that allows us to be different, to be someone else. Light spread itself within the crevices of embroidery, transforming its shadows into prints and jacquards on yellow fabrics.
The south of Italy resonated throughout the collection, from the origins of its title to the ecstatic maenads found on purple shirts. Collages of these mythological beings were created via AI, in order to portray Dionysus and its genderless nature. Last but not least, Rambaldi introduced three pairs of house-made shoes, created in collaboration with Cuoio di Toscana, featuring its iconic green sole. Décolletés recalled Rambaldi’s hearts and his new bra hooks; clogs with heart-shaped studs represented his attachment to ’70’s social struggles; loafers targeted male customers. As always, a body-normal cast demonstrated the designer s intentions more than words can say.
