Meet Gianna Rosina, whose fashion artistry is a direct reflection of her Sicilian Catholic roots and a deep engagement with medieval artistic influences.

**Design by Gianna Rosina, Photography by Pablo Gonzalez, Models: Gustavo Garcia-Hernandez & Aliya Hidirlar.**

Her education at Parsons School of Design has played a crucial role in shaping her unique aesthetic, which she showcased in her 2023 thesis collection, AD VITAM ÆTERNAM. This collection confronts the seven deadly sins through the lens of Catholicism, offering a critique of the church's power dynamics while drawing from historical texts like The Decameron and The Divine Comedy.

Rosina’s design ethos is a blend of historical homage and contemporary critique, channeling the dramatic intensity of Caravaggio’s chiaroscuro and the narrative depth of Renaissance and medieval literature into modern fashion statements. Her work challenges conventional boundaries, inviting viewers to explore a confluence of religious symbolism and human nature. Featured in Hypebeast and British Vogue, and recognized as a Teen Vogue Generation Next Innovator, Rosina’s designs are a clear expression of her ability to incorporate complex narratives into her garments, making each piece a conversation starter and a reflection of her artistic and cultural investigations.

How has your Sicilian Catholic heritage and the medieval to Renaissance art periods, particularly figures like Caravaggio, shaped your aesthetic and thematic focus in design?

G.R: I grew up looking at the most beautiful objects; everything my family did was just so polished and over the top. My parents had a copy of The Last Supper by Leonardo da Vinci in our dining room in a gold frame. We had religious figures sprinkled here and there throughout the house. I remember when I was young, there was this particular statue of Mary in church in a gold gown with wax tears, and I thought how ethereal and otherworldly she was. I want all the people in my clothes to feel like that, to look like that.

With Caravaggio, I was drawn to his work because of the type of colors he used. The paintings with the heavy black background and the drama in the people he painted. It was just so perfect to me. One of my favorite paintings that inspires me all the time is called Judith Slaying Holofernes. Artemisia Gentileschi also did a version of this painting, and I adore both of them.

Your thesis collection critically explores the seven deadly sins within the context of Catholicism. Can you discuss the process of weaving these themes with historical texts like 'The Decameron' and 'The Divine Comedy' to challenge power structures within the Church?

G.R: The hardest part, I think, when doing my thesis was being able to interpret these texts and find a way to create a garment that wasn’t instinctively just another priest's robe. The one thing I noticed in both of these stories is the fault in mankind. These stories are centuries old and yet they are still relevant today. Taking these stories and spinning them on their head and pointing the finger back at the church to say, “You are no better than the Greed and Lust you preach and condemn in other people. You are no better than me just because you put on a white collar and a robe; at the end of the day, you too are still just a man.”

In merging medieval artistry with contemporary fashion, what challenges do you encounter in maintaining authenticity while ensuring relevance to today's audience?

G.R: I think the most challenging thing is not convincing people "they can wear this” but rather to walk the fine line between eccentric style and costume. It is about the self-confidence and awareness to know my design is perfect for them at that particular moment in time. I know my work is not for everyone, but I want to be right on target for those people who understand where I am coming from.

Fashion often serves as a mirror to society. In what ways do you aim to use your designs to reflect on, or challenge, societal norms and historical narratives?

G.R: I want to use my designs to explore, and to some extent challenge, the church’s hypocrisy. They include some of the most basic things I was taught when I was a young girl that controlled women in religion, especially the Vatican's power in Italy. Behind all the beauty and splendor of the aesthetics and artwork, there is some deeply rooted evil.

Reflecting on your journey from your foundational year through your recent work, how has your creative process evolved in terms of concept development, research, and execution?

G.R: So much has changed. I used to be more stubborn, and I feel like I did not listen to any of my tutors back then. I was 18 going on 19 when I was in my foundation year; I thought I had everything figured out, and I really did not take the time to flesh out my ideas. I feel like the past 5 years alone have allowed me to become much more patient as a designer. I finally feel like I know what I want now. My thesis from last year was my first true body of work I feel proud of. I also understand that making clothes takes time, especially when you are still making all your samples yourself. Also, failing does, in fact, make you a better artist (as much as I hate to admit it).

Looking forward, are there specific historical, religious, or cultural narratives you wish to explore further in your designs? How do you see these interests shaping your future projects?

G.R: I have been interested in more of the traditional ways to make clerical garments and the objects themselves that are in Catholic churches, like the pews and chalices. I love finding new medieval manuscripts and translating Latin. In a way, I would love to input more of the words I read onto garments. I would also love to learn more about the traditions for countries that have Catholicism as their main religion, like Ireland and Mexico.

Quick Series - 'What These Words Mean to Gianna Rosina

Tradition: “In the context of your work, how do you balance tradition with innovation to create something new?”

It is so important to me that craft is not lost when making my garments. I hand sew inside most of my pieces to make sure everything looks perfect. It is good to keep tradition when researching and referencing but to not copy.

Humanity: “How do you believe exploring humanity's virtues and vices through fashion impacts the viewer's perception?”

I believe art is the most impactful when it is the most personal. You can tell when someone has poured their heart into a piece, and the viewer can feel when it is real.

Critique: "Can you elaborate on the role of critique in your work, especially as it pertains to institutional power and morality?"

Critique is so important to me. No creative person likes critique, but it is essential to our work. When it comes to my work, it is especially important since it is dealing with religion. I want to make a statement and move people without being pretentious. I usually like to run it by a few friends and family before finalizing anything. I’m definitely open to people saying “I see what you meant, but I think we should try it another way.”

Identity: "How does the exploration of identity influence your approach to fashion design and the narratives you choose to explore?"

I always want to keep Sicilian culture in my work and to bring my family and friends into the projects as well. I often search for the untold stories, or something in the history of medieval Sicily, which is where you can really find the hidden gems.

In her creations, Gianna maintains a balance between reverence for her heritage and a rebellious questioning of modern-day ecclesiastical structures. Her approach to fashion is both a reflection on personal identity and a broader commentary on societal norms, crafted to resonate with those who seek depth and meaning in their sartorial choices. As she continues to evolve as a designer, her future projects are anticipated to further explore the intersections of fashion, history, and culture, promising a continued commitment to thought-provoking and culturally rich designs.

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