Extended until 22 August, the exhibition of the sculpture-dress by Roberto Capucci
Roma – 14 agosto 2025
The Rezza Foundation – Pro Cultura et Caritate is pleased to announce that, in view of the exceptional public response and high visitor numbers, the installation of Roberto Capucci’s dress-sculpture at the Church of Santa Maria Annunziata in Borgo has been extended until 22 August 2025.
Warmly welcomed by Italian and international visitors, the work Santa Maria Annunziata—an integral part of the “Grazie” collection—has proven capable of engaging in a profound dialogue with the sacred space of the “Annunziatina,” consolidating the church’s role as a privileged place of encounter between art and faith.
In line with its mission to promote innovative pathways of dialogue between religious tradition and contemporary artistic research, the Rezza Foundation has therefore decided to offer an additional opportunity to those who have not yet been able to admire in person the extraordinary creation of the great Roman couturier.
The work, based on the sketch “Madonna con le cappe doppie” and conceived as part of the diptych of the Annunciation, has been visited by thousands of people in the first weeks of opening. Numerous organised groups, scholars, and enthusiasts wished to engage with Capucci’s art in the unique setting of an eighteenth-century church a short walk from the Vatican.
The refined dialogue with the works in situ—from Angelo Massarotti’s altarpiece to Antoniazzo Romano’s Madonna del Latte—has made this exhibition experience particularly evocative, offering visitors an unprecedented spiritual and cultural itinerary.
A Garment that Becomes Sacred Sculpture
Roberto Capucci, an undisputed master of international haute couture, has with “Grazie” conceived a project that decisively transcends the boundaries of fashion to immerse itself in the dimension of sacred art. The Santa Maria Annunziata dress-sculpture (the overture to the aforementioned collection) is not a mere sartorial artifact, but a fully fledged work of art—an expression of sacrality translated into form, colour, and material.
Over the course of the exhibition, the Foundation enriched the public’s experience by offering a series of collateral initiatives that met with great interest. Themed guided tours led visitors along an original interpretive itinerary that shed light not only on Capucci’s poetics but also on the profound relationships between his dress-sculpture and the sacred context that hosts it. This pathway made it possible to read the work not only as a masterpiece of textile art, but as a bridge between iconographic tradition and contemporary language.
Particularly well attended and lively was the workshop-laboratory “The Garment: Dwelling in a Sacred Space,” during which participants explored the creative possibilities of costume as a spiritual and liturgical expression, transforming sartorial practice into a dialogue with the dimension of the sacred. Concluding the cycle, a panel discussion with fashion-design experts and art critics brought authoritative voices into conversation on the role of the couturier as contemporary artist, redefining the boundary between costume, art, and faith, and offering the public a new interpretive key to Capucci’s work and his extraordinary contribution to the artistic language of our time.
Extending the exhibition until 22 August means giving further space to this fruitful dialogue between human creativity and divine creation, at a moment that confirms Rome’s role as a world capital of culture and spirituality.
