Kaspar Hauser is one of the most enigmatic characters from 19th century Europe. The story goes that after spending more than a decade in total captivity, accompanied only by his toy horse, the young 16-year-old German boy appeared on the streets of Nuremberg with a letter in his hand – the only thing written on it was his name. His perceptions were limited and repetitive, and the few things he knew were as a result of total isolation. Five years later he was victim of a mysterious stabbing that ended his life; his death was surrounded by as much mystery as his arrival onto the streets.

Yet, this collection has little to do with the story of this wild child from the 19th century. It isn’t aiming for a literal interpretation. The story of Kaspar Hauser serves as a metaphor to me, to talk about the lack of communication and identity in our modern society, in the growing disinterest in gaining real knowledge, and the loss of non-virtual stimulation in the building of our sensitivity.

My Kaspar is a character that is open to numerous interpretations and full of symbolism. His extreme lack of uniqueness and the absence of references – consequent of being deprived of freedom – turned him into an extraordinarily peculiar character. A figure who begs the question about identity, and the new forms of confinement that set the stage for the contradictions in our current system.

Forced into unconditional solitude, his internal world is as poor as his ability to express himself. Like Davide Manuli’s “Kaspar” – a movie that was truly a bomb of inspiration – he hardly speaks, only listens and dances to techno music, and constantly repeats the same phrase: “Io sono Kaspar Hauser”. A clear statement about the limits in his small world and total collapse of personality, about the search for a stable identity, and the problem of egocentrism and societal individualism.

On the other hand, Kaspar also represents the character that everyone – except himself – wants to believe in. An updated version of those modern-day saviors from out of nowhere, like Neo from Matrix. They embody the hope for redemption of an alienated society trapped in repetition, conformism, and social simulation.

If the new prisons of identity have to do with the progressive triumph of everything virtual, and the decline of idols who were prophesied by so many who eventually ended up being a pipe-dream, then we still need influential figures such as Kaspar Hauser, Ridley Scott’s “Blade Runner” and other so many futuristic stories. Perhaps these could help us become more alert of the spiritual involution that accompanies technological evolution. After all, who can live without real playmates like Kaspar’s horse?

• SILHOUETTES, FABRICS AND COLORS •

The collection begins with a sporty, neo-futurist style that echos a made-up reality, and later progresses towards more current and familiar codes.

My passion for the aesthetic of youth culture develops in the first third of the collection through parkas, bomber jackets and raincoats made of tech fabrics with laminated and metallic finishes with an iridescent effect. Explicitly referencing the film “The Legend of Kaspar Hauser” by Davide Manuli, these pieces are placed on ‘nude bodies’ represented through the leotards that cover the models’ skin. The tattoo on the protagonist’s chest is transformed into an embroidery of metallic sequins and beads in copper tones. The fashion world’s insistence in elevating reality to a more sophisticated level has always been something I’ve found desirable.

The collection continues with pieces that aim for a balance between extravagance and social codes of a more mundane aesthetic, however not any less interesting. We find long dresses that aren’t intended for galas, but to be mixed with other styles. Then we have knit jumpers with a toy horse motif and Kaspar Hauser’s name, which underlines the identity and iconography of the collection.  

Then we finish off by returning to the collection’s origin with the second skin – full length leotards with the name of the protagonist of the collection. They act as a base for long dresses that play with the glazing and transparency of organza. The final look, embroidered with red sequins, represents, just like in the legend, the death of Kaspar Hauser.

Cotton with metal finishes, sequins embroidered in devoré on velvet, intricate drawings of guipur, chantilly lace, plumetis tulle, mesh embroidered with guipur, and velvets over a neoprene base. Torn tartan print cotton, as if there were wounds to cure and mend, jacquard knit, embroidered sequins on silk chiffon and laminated organzas with stains of color washes, pleating with a laminated metallic effect, jumpsuits in nude lycra with embroideries made of crystal and metallic beading.

Jet black, nude, copper, metallic iridescent, gold, purple, blood, burgundy, check and stripes.