As usual, Antonio Marras dedicated his show to a famous woman. His spring/summer 2018 collection saw the turn of Juliet of the spirits, Giulietta Masina, imagined in two of her alter-egos, Cabiria and Gelsomina. The performance space, the Teatro Lirico, is currently undergoing restoration work, with scaffolding and rubble, yet it was still the ideal setting for a show that commenced in darkness, with a trapeze artist dressed in white, swinging above the spectators on a swing decorated with flowers, and which ended with the Comune di Milano brass band. The choice of location is part of a cutting-edge experiment, devised and curated by the Fondazione Dioguardi, aiming to transform the inconvenience of a building site into a cultural event for the city, including music, theatre, and dance. Surrounded by scaffolding, characters imagined by Antonio, models, friends, dancers and artists, paraded his creations, called upon to showcase a choreographed magical story, represented by clothes that are masterpieces in terms of poetics and skilful craftsmanship, in a pinwheel of sophisticated shades. There were pink sorbets and soft powder-puff shades, mauve and teal, geranium, saffron and ochre, white and beiges, army green, asphalt and lead greys, and ink black. A wealth of striped patterns, together with geometric opticals and houndstooths, enhanced with lace and sequins, plus a series of pictorial floral prints. Dresses with fluid lines were accentuated by bias cuts and intentional asymmetries. Alongside the flowing fits, we also saw oversized and body-con fits. As ever, the catwalk was a performance show, and this time, it was almost pyrotechnical, given the amount and the variety of looks, all reflecting an exuberant creativity that never fails to renew itself, without ever falling short of the Sardinian designer special symbolic expression.