Federico Cina enriches and stimulates the evocative potential of fashion, acting as a sounding board for the performance act, giving it the communicative and media boost that draws a wider and more diverse audience


Federico Cina in this new act, emphasizes the functionality and structural integrity of buildings, making them monumental expressions of geometric forms that are both silent and bold at the same time. He challenges conventional norms and embraces raw materials by exploring unconventional options and experimenting with new production techniques.
The wardrobe exhibited is rooted in the combination of monochromatic colors, avant-garde and clean-cut shapes, daughters of a sartorial coolness and a bulimic, yet successful quest for purity. Gravity runs through symmetrical rigor.
Claiming a vision of artistic practices as collaborative and interdisciplinary, and understanding the human body as a privileged place at the center of evocative communication. His narrative presents itself as totalizing, transporting us to a heterotopic dimension.
A runway outlined by large white sheets becomes a fragment of space in a heterotopia where the audience, positioned on the opposite side, becomes the fulcrum of an inverted experience.
The space moves deftly, like a holiday garland, thanks to the courage of Gabriele Rosati and Luca Notarfrancesco, who lead us through performative acts where mental contrast and metropolitan tension are unbalanced through iconographic rhetorical figures that become clear in the gestures of the models. One of them carried a concrete pillar, another ferried another model on his shoulders, and then lined up around the perimeter of a white box-like set and ripped it apart so as to shed perhaps too cumbersome manias.

They shape the space like a playground, weaving bodies and structures into a sinister dance. They act with the precision of those who have the power to manipulate the very fabric of perception. The audience, from passive spectators, finds itself involved in an experience where normality is warped under the influence of these figures.
Real bodies marched by arousing in me the anguish of everyday living – structures that were not separate from the body, but became extensions of the body.