Raffaella Carrà, the aesthetic myth of political repercussion that was saved from the 'camp'

Iconoshace just four years, the Italian singer and show-woman could star in one of the most unexpected fashion episodes.His is an intergenerational, social and cultural phenomenon, destined to be remembered forever beyond his popular tunes and his ironic stylistic excesses

By Rafa Rodríguez

There is an unlikely conversation that fashion had pending and that it can no longer be.At least not as planned.He had been running his head for four years to Francesco Siazoli, the most provocative Italian conceptual artist than there is news after Maurizio Cattelan dissolved in advertising hygienic paper, and put in front of two unleashed forces of nature: Miuccia Prada andRaffaella Carrà.Too bad we can only imagine it:

Miuccia: "Did you also vote communist in the seventies?" Raffaella: "I have always voted communist.That implies a great way of life and responsibility.In a conflict between workers and businessmen, I will always be on the side of the workers."Miuccia:" Why did you decide then dedicate yourself to the world of entertainment? "Raffaella:" I couldn't go to college, like you.I have had to learn in the school of life.I always wanted to be a singer and dancer, although naturally I had other concerns, but in principle I think I have done as a woman through my work, which is the important thing.And you, why did you dedicate yourself to something as little communist as fashion? ”

The memorable meeting should have occurred at some point in 2017, when the artist (and filmmaker or, if preferred, visual designer) orchestrated 'timeto the past of public television that molded the social and cultural change of its country between the conflicting decade of the seventies and the hedonists eighty."But if you know everything on television! You should devise an exhibition!" Said the 'Signora' Prada, Mentor and Friend.Thus came a dialogue between "the most sophisticated and radical private company in Italy and that other that is like the general archive of the State", of which the Carrà was erected as the leading voice, or almost.In fact, his figure deserved an exhibition cycle in Spin-Off Plan, entitled 'Phenomelogia di Raffaella Carrà'.The fact is that between the object of the inevitable male fetish look and the subject of an unexpected cultural and artistic revolution, the body/image of the singer and show-woman gave rise to a series of “controlled transgression” experiments in whichExplicit eroticism and sexual ambiguity were mixed with new forms of expression that openly opposed the canons of established patriarchal domain, in a kind of unthinkable cathodic empowerment to date (a formula that would later move to Spanish public television, althoughfew recognize it)."That nobody doubted it: Raffaella Carrà was one of the first feminist referents of modern Italy," said this journalist then time."Seriously, I think it was a feminist for 30 million people.In 1978, the song with which he opened his stellar program was 'Tanti Auguri' [the anthem 'to do love well must come to the south', for us], in which the benefits of practicing sex from Milan to Sicily.A message of release like that, on public television, at that time, possibly had a positive effect on countless women ”.

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— Kavita Goyal Tue Oct 16 11:31:31 +0000 2018

Born in Bologna, in 1943, Raffaella Maria Roberta Pollini spent 69 of her 78 years of life on stage, in front of the cameras.But in the annals that March 1974 is marked, when it appeared with the singer Mina Mazzini (another transalpine national heroine) to present the Milleluce program.It was the first time in the history of the RAI in which not one, but two women occupied a space until then of male domain.They were just eight broadcasts, until May of that same year, during which the variety program - with its live orchestra, its dance body and its supervedettes - reached audiences never seen: an average of 24 million viewers."It was a flagonazo of feminism, within the television vocabulary.With his arrival he began to talk about divorce, about abortion...It was a scenario that finally gave court to female civil rights, "recalls Timazoli.As the audience already had a mine - a prosecut of public television from the sixties for aborting an illegitimate son - the attention fell especially in the Carrà, with those visionary sports styles in obvious contrast with the most dramatic femme fatale style of his colleague.Thus, a brand image was forged that was consolidated over time: the naked and hip sets in the pubis with which he challenged the category censorship of the time, the tons of excess and mischief looked with irony in bright and tight monkeys,The waterfalls of crystals and sequins, the dresses of a special type of crepe that helped the celebrated anatomical jolts of their choreographies, the essential colored letter in red, white, black and gold, the perfect Boba Platinum.

Enrico Ruffini and, above all, Corrado Colucci were in charge of opening the way by dressing it in their debut in ‘Canzionissima’ (1968-69) and, then, in 'Milleluce'.Colabucci, who was creator of costumes of the shows of the Parisian Moulin Rouge.However, it would be Luca Sabatelli who would define his 'look' from 1978, with his first color program in the RAI, 'Ma Che Sera'."We understood ourselves from minute one.It was very easy to work with her, either to devise a cheerful dress or an aggressive set.All, in any case, unrepeatable scenic outfits with which we were designing the aesthetics of the eighties, "recalls the designer, who made her look as a minifaldera nun with a league, 'vamp' of the fifties, Zarina wrapped in skins and draped and queen and queenof the bedroom of 'Strass' practically until 2019, when he stole all the plans as coach in the Italian version of La Voz.Of course, in such a fantastic wardrob.For its part, talents of Italian fashion more or less recent from the scope of Marco Rambaldi, Greta Boldini, Mario says, Francesco Scognamiglio (with his teaching monogram) or Giuseppe di Morabito cite it as inspiration without hiding.

The mystery of how it is possible that between so much glitter and frost, its enthronement as a LGBTQ+ icon and that popular family dimension has managed to dodge the bullets of the 'Camp' solves it, of course, time, time.."The fact is this: if I read what the politicians of the time said, which the Pope preached and what the media collected, I say that this woman was a radical.An iconoclast.I never even had a husband, appear the scandal.It was our genuine scarlet lyrics, "concludes the artist."When there are so many political, social and emotional implications around someone like that, you forget the 'Camp'.And that is why the fate of future generations is to remember the Carrà forever ".

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