One of the pioneers of modern design, William Morris (1834-1896), had perfectly understood this. Flowers, fruits, natural elements offered unrivaled motifs, textures and patterns to his drawings. The most modern, the most classic, the most appropriate. Whether the inspirations come, today as yesterday, from English gardens, 16th century herbariums, Icelandic lichens and mosses, illuminated manuscripts, medieval tapestries, nature represents the teacher of the most daring imagination over the centuries. The one that can move, with the same ease, from exotic features to the most romantic forms. The same will happen, for example, with Givenchy who, after the Second World War, proposes lemons and peppers on its haute couture dresses that seem to have come directly from the stall of a village market. And the same goes for Gallia e Peter's hats. Whether it is the Chapeau vert in silk organza dyed in salad green or the Petit cerise inspired by the color of the cherry wood and made with a tulle and wire structure, whether it is silk flowers, roses, bluebells, lilies of the valley, watermelons or vegetables, nature is the instinct, the starting block, the most genuine inspiration. Among the first head accessories in history, moreover, there are precisely plants and flowers, the same ones that made Botticelli's Primavera the muse of artists, designers, stylists, from the Pre-Raphaelites up to Rosa Genoni who, looking precisely at Botticelli, created a dress that was era-defining. Nature that inspires art, art that inspires fashion, fashion that returns to art in a perpetual feeding of ideas and ideas. Season after season, in fact. As well as on the catwalks, as well as in the home garden.
