Initials that become logos, images that are turned in crests: the heraldry of Italian fashion. The propensity for democratization was associated with a desire on the part of Italian fashion to make itself immediately recognizable.
In the room devoted to logomania, the brand explodes, becomes an icon of the contemporary, is multiplied endlessly on objects that turn into the obsessive punctuation of daily life and lead to the transformation of the total look into the total lifestyle. It is the room of leisure interpreted by fashion, of second lines and everything that brands have been able to turn from the apparently superfluous into the absolutely indispensable.
Around Maurizio Cattelan's carpet Il Bel Paese are gathered landscapes of logoed objects ranging from the pioneering designs of KS and WA (Ken Scott and Walter Albini) to travel items branded Fendi and Trussardi, the signatures of Pucci and Ferragamo turned into decorative elements on scarves and blouses and Versace's Medusa, standing out against fret patterns and neo-baroque designs. All the way up to Diesel jeans, Gucci handcuffs and dog bags, Prada's red symbol on sneakers and sports outfits and Emporio Armani's eagle multiplied ad infinitum on the elastic band that completed men's underwear and stuck out from the pants, becoming the element that defined the male body in the 1990s.