The 1970s in Italy were a decade of profound transformation, where creativity became a powerful force for change. From June 27 to November 29, 2026, two exhibitions in Gorizia and Gradisca d’Isonzo will immerse visitors in this vibrant era, highlighting the interplay between artfashion and design.
At Palazzo Attems Petzenstein in Gorizia, the exhibition Italia Settanta. Creativity as an Antidote. Art, Fashion, Design curated by Raffaella Sgubin, Carla Cerutti, Lorenzo Michelli, and Enrico Minio Capucci, explores how Italian creativity responded to the social and cultural upheavals of the time. Meanwhile, the Galleria Regionale d’Arte Contemporanea ‘Luigi Spazzapan’ in Gradisca d’Isonzo presents FVG Settanta. Arti visive in Friuli Venezia Giulia negli anni ’70 delving into the region’s role as a hub for avant-garde artistic practices.
The Evolution of Italian Fashion
The 1970s marked a significant shift in the Italian fashion industry, as traditional sartorial craftsmanship gave way to the rise of prêt-à-porter. This transition was driven by innovative designers like Walter Albini, who emerged as new protagonists in the fashion world. Milan became the epicenter of this transformation, blending quality and industrialization to elevate the Made in Italy brand.
The Gorizia exhibition features iconic pieces that exemplify this shift, including two dresses from the renowned Tirelli sartoria in Rome. One is an evening gown worn by the legendary Silvana Mangano, and the other is a wedding dress adorned by Claudia Cardinale. These garments illustrate the fusion of artisanal excellence and larger-scale production. Additionally, Roberto Capucci’s sculptural coat, known as the Cretto showcases how fashion could incorporate natural materials and engage with contemporary artistic trends.
Design Innovations and Material Experimentation
The 1970s were also a golden age for Italian design, characterized by bold experimentation with materials and forms. The exhibition highlights the use of plastics and unconventional designs that challenged traditional aesthetics. Notable pieces include the De Pas-D’Urbino-Lomazzi trio’s poltrona-scultura and Mario Bellini’s Divisumma 18 calculator for Olivetti, which exemplify the era’s innovative spirit.
The exhibition also features a reconstructed set from the British television series Spazio 1999 which included designs by Gae Aulenti and Vico Magistretti. This set illustrates the influence of Italian design on popular culture. Another reconstructed environment evokes Luchino Visconti’s film Gruppo di famiglia in un interno juxtaposing historical furnishings with the modern, minimalist aesthetic of the 1970s.
The Visual Arts and Their Dialogue with Fashion and Design
The visual arts section of the exhibition underscores the diverse artistic languages of the 1970s, ranging from painting and conceptual art to installations and environmental interventions. Works by Alberto Burri and Afro are displayed alongside pieces by Gino De Dominicis, Giorgio Griffa, and Michelangelo Pistoletto, among others. These artworks demonstrate how conceptual and formal research influenced fashion and industrial design.
One striking example is the juxtaposition of Alberto Burri’s Cretto with Roberto Capucci’s Cretto sartoriale, highlighting the interplay between artistic and sartorial practices. This dialogue between different creative disciplines is a central theme of the exhibition, illustrating how the boundaries between art, fashion, and design were blurred during this dynamic decade.
The parallel project in Gradisca d’Isonzo complements the Gorizia exhibition by focusing on the visual arts in Friuli Venezia Giulia. Through archival research and thematic clusters, the project explores the region’s artistic movements and key figures, offering a comprehensive view of the era’s creative landscape.
