As for the costumes, they marry Blazy’s obsession with movement with sophisticated edginess. “What Lenio adds in her live performance to the clothes we’ve created for her is a strong, raw energy of self-expression, the performance is quite brut and radical,” he said. “The costumes we designed originated from looking at archetypes—a man’s coat, a glamorous night shift, a shirt. We elongated the shapes so they become an extension of the body.”
Kaklea has never worked with a fashion brand before, so working with Blazy and Bottega Veneta takes on a special significance. “It’s not a world I’m familiar with,” she said. “I’m basically dealing with it as if it were a stranger, which is what most of my performances are about. They’re about displacement, discovery and experimentation rather than narration or simple display. But despite coming from different worlds, working with Bottega felt as if we shared a common language expressing a similar radicalism.”
Not satisfied with this masterful display of art-meeting-fashion, Blazy rounded up the label’s presence at the Biennale launching a limited run of fifteen cabat intrecciato bags. Sold exclusively at Bottega Veneta’s Venice store, the bags are inspired by the colors and size of the famous analog typewriter Lettera 32, made by Italian company Olivetti in the ’50s. The typewriter had become a sort of a cult object for writers, apparently still used by devotees like Nick Cave and Pope Francis. To support the preservation of the historic Olivetti showroom in Venice, designed in the 1950s by Italian architect Carlo Scarpa, the label also made a donation to FAI (Fondo Ambiente Italiano).
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