Oversized jackets, very short hair, tattoos, piercings, amphibians and plateaus, jeweled men and fluid outfits in which the gender does not count: at the Sanremo festival the album of a generation, the Z of the twenty-thirty-year-olds that meccia (is their slang after all) that is, mixes eras, stratifies them, finds identity in daring look without getting too many problems, aggressive outside, romantic inside.
And above all it enhances the genderless street style, the one we increasingly encounter in everyday life.
Of course there are the stylists behind every dress of the festival, fashion for years has taken the event in a competition of signatures that begins months before, but it is the artists who build an image with the fashion houses that reflects them and puts them again. more in connection with the audience that supports them.
And so the chosen style makes the difference and brings even more that young audience that is the new conquest of this third edition of Amadeus.
Leaving aside for generational reasons Ranieri, Morandi, Zanicchi and others who certainly do not dare and go on classic elegance, there is a street style in a disco version of Saturday night on the Ariston stage with looks close to the queer pop and chic imaginary .
Achille Lauro had already dictated the line in previous editions by anticipating looks without gender boundaries, he was a forerunner, but today, tender, romantic, with bleached and short hair, nude sequin pants (Gucci) is no longer alone.
He is in good company: by Mahmood and Blanco with their cool XXL suits (Balenciaga) and the naked chest in the I see I do not see impalpable sweaters, by the duo in Moschino The List Representative with echoes Lady Gaga, by Michele Bravi, by Sangiovanni champion of pink - die-hard gender stereotypes - and of recycled eco-plastic for pants, by punks Highsnob and Hu, the hardest of all with her shaved head and his load of ink engravings, Aka 7even animalier or pink and by Rkomi in total leather.
All loaded with accessories, rings, earrings, chains:
The signatures are there, from the shiny tuxedos by Gai Mattiolo for Amadeus to the ultra-feminine dresses by Alberta Ferretti for Noemi, from the dresses by Philippe Plein for Giusy Ferreri and Fabrizio Moro, from the sustainable suits by Stella McCartney for Aka 7even.
Separate chapter Giovanni Truppi, exaggerated minimal in a tank top.
(HANDLE).