In dialogue with art
Marni relies on a total theatre piece to launch its new optical collection developed in collaboration with Marchon
For the launch of the eyewear collection created in collaboration with Marchon, Marni had created an evocative account of architectural and gestural lightness that gives emotional concreteness to the creative atmosphere that distinguishes the brand. Entitled ‘Looking for Marni’, the total theatre piece was based on a natural flow of visions and emotions that come to refer to a sense of balance: a highly dynamic representation that involves and envelops the audience in a typically Marni mood
The roundness of the costumes, which were also very angular, the fluidity and the slowness of the movements suggested a particularly close link with the shapes of the glasses and, more generally, with Marni’s articulate language, a brand that knows how to explore with levity the versatility of a gaze.
‘Looking for Marni’ was set inside the Padiglione Visconti in Milan, a particular industrial space used nowadays as a rehearsal studio by the Teatro alla Scala. Created by Susanna Beltrami and her dance company, the piece consists of one hour and a half of non-stop action.
Dressed in constructivist costumes, freely inspired by the work of Bauhaus artist Oskar Schlemmer and rich in subtle hints to Marni style codes of colour, texture combinations, rhythmic patterns, the dancers interpret a group of dreamy characters who occupy the space by performing repetitive actions. Some of them were suspended from the ceiling, others interacted both with surreal props, like a gigantic table and chair, and the audience. 
The show came to life thanks to the mixture of dramatic actions and real life experiences. The lack of separation between artists and spectators brought forth a flow of poetical feelings which in turn generated a sense of suspension where the senses were stimulated in unison: lights, sounds, movements interacted and expanded. Among the four styles of the eyewear collection, the ME6025 frame is distinguished by the roundness of the lens, opposed to the linear, marked relief on the front that continues on the temples. The colour palette prefers saturated tones for the acetate on temples and fronts combined with galvanic metals.
