The Colosseum Archaeological Park in Rome stages a unique exhibition devoted to bird-themed haute couture from some of the most famous fashion houses in the world. Curated by Sofia Gnoli, the exhibition of sumptuous clothes and accessories is hosted in the 16th-century Farnese Aviaries on the Palatine Hill, set in the world’s first botantic garden
SOFIA GNOLI in conversation with ANDREA DEL VECCHIO
The setting is enchanting: history merges with myth, and the intoxicating scents of the Horti Farnesiani complement the extraordinary eternal view of the Roman Forum from the Uccelliere Terrace. We are on the Palatine Hill with Sofia Gnoli, witnessing the final touches on Rara Avis. Fashion in Flight at the Farnese Aviaries, an exhibition curated by Gnoli, promoted and organized by the Parco Archeologico del Colosseo, open until July 21st. Gnoli’s proud expression confirms the satisfaction of having achieved magic: rare creatures have returned to inhabit the place designated for them by the Farnese family in the 1600s. Crossing the threshold of these marvelous chests, it is impossible not to be pleasantly astonished and overwhelmed by the wonder. The animated projections in the setup reproduce detailed architectural elements of the aviaries and the idyllic nature all around, catapulting us into a liminal space where a poetic dialogue between the human and animal worlds takes shape. Through the glass cases, we observe metamorphic clothes and accessories. Whether benevolent or not, their vision leaves us completely immersed in a sense of awe and admiration. Like iridescent feathers belonging to the same bird, every element of the exhibition collaborates to create a mythical and colorful visual imaginary. Jean Cocteau once said, “Wear feathers that seem to belong to your body as feathers belong to birds.” This challenge was embraced by Anna Piaggi, a chameleonic journalist and fashion writer, to whom the exhibition dedicates an entire section. Feathered hats and small cages worn as handbags by her contextualize metamorphosis in a daily setting. Giovanni Gastel, on the other hand, references the myth of Leda and the Swan in his 1990 photograph, the only photograph present for its representative value and the symbolic image of the exhibition. Displayed are nine accessories and eleven garments, all from the archives of fashion houses and the dreamlike minds of designers such as Alexander McQueen, Stephen Jones, Thierry Mugler, Roberto Capucci, Alessandro Michele, and Tiziano Guardini, to name just a few.
How did the idea for the exhibition Rara Avis – Fashion in Flight at the Farnese Aviaries come about?
The idea originated from the initiative of Alfonsina Russo, Director of the Colosseum Archaeological Park. For some time, she had envisioned staging a fashion exhibition, being a great enthusiast herself. The chosen location right from the start was the magnificent Farnese Aviaries. The challenge for me was twofold: deciding what to exhibit and managing the limited exhibition space. Thus, we decided to restore the aviaries to their original function as intended by the Farnese in the 1600s, and we thought of “repopulating” the Palatine Hill with bird-like garments. Fashion is replete with feathered attire, but three-dimensional bird-shaped garments are rare indeed—a true rara avis.
What are the main themes of the exhibition?
The layout of the site was essential in shaping the selection and creation of the thematic sections. The Aviaries consist of two pavilions: the eastern one, known as the Old Aviary, and the western one, the New Aviary. For the first, we focused on themes of myth and the divine. The myth of Zeus seducing Leda and transforming into a swan is embodied in garments by Maria Grazia Chiuri for Dior and Alexander McQueen for Givenchy. The winged Nike by young designer Tiziano Guardini and the Archangel by Atelier Versace establish a correspondence linked to the divine. In the same pavilion, we included Anna Piaggi, a mythical figure of international fashion, with her feathered accessories. The other pavilion, named Kaleidoscope and called Kaleidoscopic Visions, is a fireworks display of colors—a Garden of Eden populated by Mugler’s dress, a cross between a bird of paradise and a butterfly, as well as Jean Paul Gaultier’s marvelous parrot dress and Dolce & Gabbana’s haute couture dress adorned with rooster and pheasant feathers.
How do these themes intertwine with the genius loci of the Palatine Hill and the Farnese Aviaries?
There is an undeniable connection between the world of birds and the Palatine Hill. Even in the founding myth of Rome, as recounted by the Greek historian Plutarch in Parallel Lives, birds play a role: Romulus, the first king of Rome, killed his brother Remus because of a bad omen involving vultures right here. In this same place from the mid-1500s, the Farnese decided to build first the Farnese Gardens and then the Aviaries, aiming to gather rarities of the plant and bird kingdoms. At the time, collecting and exhibiting exotic birds and fantastic creatures symbolized culture, education, and thus power. Through the restoration in 2018 and especially through this exhibition, we aim to restore a sense of wonder to visitors, almost as if we were at the Farnese court in the 17th century.
Looking at the creations on display, a spontaneous question arises: where does this desire for metamorphosis come from, and what cultural references are possible?
I believe this desire is inherent to human nature. The need to change forms to become something other than ourselves is an act of will to imagine ourselves living through qualities and abilities that do not naturally belong to us. Humans would like to resemble birds to spread their wings and soar high in the sky, but they cannot. However, visiting the exhibition reveals a uniquely human power—the power of imagination. The invitation of Rara Avis is precisely this: to soar upwards and look towards the sky, flying with the wings of fantasy and hope!
