The Wind in the Willows is one of my favorite fairy tales together with Aesop‘s moral tales featuring the animals that populate the wood as protagonists.
They have always conveyed to me the sense of the natural balance of things, a wild harmony that has remained unchanged over the centuries.
When the doors of the apartment on the third floor of the Haussmannian building located at number 7 of the elegant Avenue Franklin Delano Roosevelt in the eighth district of Paris opened, I felt the same emotions.
The apartment housed Sylvio Giardina‘s FW25 Couture collection: 10 pieces in which the experimental aptitude takes shape through sculptural forms, bold silhouettes, an assertive delicateness of techniques and artisanal expertise, evoked in the transparencies, unexpected in the flashes of the metallics and in the flair of the fringe and raised elements.
The connection with the recent reflections on myth and the metamorphic element – presented in the projects /gal-le-rì-a/ at Palazzo Farnese and SI/LENZIO at the archeological site of the Baths of Diocletian – is entrusted with some unexpected details: incredible feral accessories that evoke ancestral spirits, or in more practical terms play with the animalistic, between masks, mementos and allegory.
I met Sylvio Giardino in Rome – where he lives and creates – a few years ago and since then I have been fascinated by his meticulousness, his ability to read and enhance female signatures, his innate drive to sublimate fashion and art together.
Born in Paris with Sicilian roots, Sylvio merges together tailoring, tradition, innovation, and experimentation.
He does it with wisdom.
Hi Sylvio, how are you?
I’m doing very well, thank you. The recent presentation of the FW25 collection marked a deeply engaging moment not only creatively, but also emotionally: We’re now in that delicate phase of observing how the collection is resonating: with our clients, the press, and the broader creative community. What’s particularly exciting is the response to CAPITOLO I, which isn’t just a collection- it’s the beginning of a new narrative arc for the brand.
There’s a sense of anticipation, of new conversations starting to emerge. It feels less like closing a season, and more like opening a door.
Can you define your idea of fashion?
My idea of fashion stems from an expressive need that goes beyond the concept of clothing.
For me, fashion is a visual language— a form of research that brings together art, architecture, and identity. The body is not only something to cover or dress, but something to transform: it is living matter, a space to be explored.
And the idea of art?
Art, in my approach, is a field of overlap between different practices.
Fashion, architecture, design, and visual art are not separate disciplines, but interconnected fields that create new formal and conceptual possibilities. The contamination between these areas is not just an aesthetic choice, but a research method to generate new languages.
For me, every project is an experimentation that challenges conventions and pre-existing structures. Art should not be confined to a defined format, but must continuously evolve. This implies a constant process of reinterpretation, where observation from different angles and the mixing of diverse techniques and concepts are essential tools to innovate and renew.
I decided to start our interview starting from two essential elements in your daily creative work.
On your website we read “Art is the inspiration, fashion is the instrument” and in fact art and fashion have always been strongly connected in your approach.
I remember, for example, the presentation of the SS23 Collection at Palazzo Farnese in Rome.
Which of these moments of dialogue created over the years are you most attached to and why?
Every moment of creative dialogue with art is significant for me, but I must say that some of my most cherished moments come from projects where I truly felt that art and fashion were not just connected, but fused together. The S$23 Collection at Palazzo Farnese, as you mentioned, was one of those milestones. The historical setting, the beautiful architecture, and the ability to bring those elements to life through fashion was incredibly powerful. I think it was not just the location, but the way I translated the visual dialogue between the space and my creations that made it so special. Each collection carries a memory, but the emotional bond with the space and the art we are surrounded by in those moments stays with me for a long time.
Can we say that Haute Couture, the tool through which you express your vision, is the maximum expression of fashion that becomes art? With no compromise?
Absolutely. Haute Couture is the purest form of fashion. It allows me to express my vision without compromise, without limitations.
It’s the realm where creativity flows freely – where materials, techniques, and time are given the space to create something truly unique. In Haute Couture, fashion is not bound by trends or commercial demands. It is a work of art, an experience, and a personal statement that can transcend time and fashion cycles.
We met a month ago in Paris where, after a few years of absence during which you had strengthened your presence in Italy, you presented the FW25 Collection during the week dedicated to Haute Couture.
How exciting was it to return to the fashion capital? How did the city welcome you?
Returning to Paris was incredibly exciting. It felt like coming home, as Paris is the birthplace of Haute Couture and the beating heart of the fashion world. After focusing on strengthening my presence in Italy, returning to Paris with the FW25 collection felt like a natural step. The city welcomed me warmly, and I could truly feel the energy of those present — an energy that was both overwhelming and deeply moving.
The response from those who visited the installation was truly powerful: it made me feel seen, recognized, and motivated to continue on my path.
You presented the collection in the rooms on the third floor of one of those splendid buildings in the eighth district of Paris which for the occasion – in my eyes – were transformed into untouched pages of Aesop’s never-before-read fables: the ten items you presented were contingent protagonists.
Can you tell us about the collection?
The FW25 collection was deeply rooted in my recent reflection on myth and metamorphosis. Following previous projects like /gal-le-ri-a/ at Palazzo Farnese and SI/LENZIO in the archaeological area of the Diocletian Baths in Rome, I wanted to evoke a sense of transformation through unexpected details. The collection featured striking feral accessories that alluded to ancestral presences, or, in a more playful sense, engaged with animality, mixing mask, memento, and allegory. The space we used in Paris, with its unique atmosphere, was the perfect setting to bring these ideas to life. Each garment was part of a larger narrative that celebrated change, evolution, and the hidden power in transformation.
Your favorite look (if you have it)?
I don’t have a single favorite look, as each piece in the collection carries its own story and meaning.
However, if I had to choose one, I’d say look 10: a sculptural dress created by manipulating a pleated base of silk threads intertwined with technical fiber, resulting in a three-dimensional effect with a soft, dynamic movement.
This dress captures the essence of the FW25 collection – it combines elegance with a sense of primal energy. It’s a blend of structure and lightness, where the garment almost seems to come to life. The use of unexpected materials in this look is something I’m particularly proud of — it tells a story of metamorphosis and transformation that runs throughout the entire collection.
If you have to write a letter to your future self today, what would you write?
Dear Sylvio, I hope you are proud of the journey you’ve taken and the risks you’ve dared to embrace. Keep pushing boundaries and remember that creativity thrives when you stay true to your vision.
Don’t get lost in the noise of others, but let it inspire you to create something even more unique. Be patient with the process, but never stop…
