A post-war march becomes a collective acknowledgement toward a new future. The monologue by Mario Sesti, director and film critic, articulates what war and its uniform is; a fabric that interposes itself between body and violence, while 2D cut out models parade from a potential present. The garment becomes an actor portraying itself in the new language of Francesca Liberatore, and the public, the protagonist of their new life path. The camouflage of coated trench coats acquires a different perspective through the tuxedo with shawl lapels. High-waisted trousers are paired with a bolero in total black for a moment of stasis that already foreshadows a surge of 60s and 70s life with the swing of the super-tailored tartan trench coat. The story has the esprit of film noir, the mystery of an investigation. Maxi skirts and jackets alternate in increasingly wide proportions where the pattern becomes circular, and the fabrics metallic. Prints on gauzed wool with a shadowy palette of blue, black grey and Turkish red recall memories of the ’90s. The finale is the vision of six empty cases waiting to tell a story of the past, the lived life of manifested presences, white, ethereal, opulent, like ghosts of a possible future, moments of an ultimate luxury that yet does not yield. The story becomes pressing, accompanied by the soundtrack of classical pieces reinvented by the musicians from the Società dei Concerti with unsettling sound incursions. Time is running out, with the need for a new dynamic and visionary awakening of Fashion. The choice is between a Matrix-like dystopian future where technology governs and another where nature is reborn as Nature after Nature, liberated by the algorithm. The hologram that pervades the scene is reminiscent of Utah’s extraordinary Pando Forest of golden poplars all generated from the same single immense root. The consciousness of what we are therefore passes through the essential, Country Roads, take me home!