The line MEA CULPA was born as a symbolic place where guilt and absolution, instinct and faith coexist.
It is a line that explores the thin border between what is forbidden and what is sacred, transforming religious and moral imagery into a contemporary visual language.
Within MEA CULPA two complementary collections take shape, opposite yet profoundly connected.
MEA CULPA it is the container of these two souls:
the sin that asks for a voice and the blessing that responds.
Not a choice between good and evil, but their coexistence.
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7 SINS it's a journey into the shadows.
The seven deadly sins become protagonists, not as a condemnation but as an awareness: pride, greed, lust, envy, gluttony, anger and sloth are reinterpreted as universal symbols of human nature.
An intense, direct collection that celebrates the most instinctive and imperfect side of the human being, transforming sin into expression and identity.
In contrast — and in dialogue — BLESS ME! .
Fifteen iconographies inspired by the most famous Madonnas in history give life to a collection that speaks of protection, devotion and hope.
Iconic figures, recognizable and full of meaning, where the sacred becomes intimate and personal.
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With BLESS ME! the union that has always bound us is celebrated sacredness and street. From Latin American to European cultures, from the suburban imagery told in cinema to the true folklore that can be felt in certain Italian and foreign neighborhoods.
The Marian figure she is not at all foreign to the world of the street; on the contrary, it is often its beating heart. In street culture, especially that linked to the outskirts of the world, the Virgin represents supreme protection, a maternal figure to rely on when the context gets tough.
This visceral connection was masterfully explored in cinema, where directors like Baz Luhrmann used sacred iconography to give an epic and tragic tone to street stories, surrounding the protagonists in cross-shaped neon lights and Marian tattoos that scream belonging and destiny. Even neorealist cinema or the cruder films of Matteo Garrone show us how, among the concrete buildings, a votive shrine can be the only flash of color and hope.
This dialogue continues unabated in the world of music, where religious imagery has become a fundamental aesthetic pillar. From the legendary provocations of Madonna, who fused the sacred and desire under the lights of pop, to the drill aesthetic and hip hop contemporary, the reference to the Mother of God is constant. Many artists choose to wear heavy chains with the effigy of the Virgin or to cite her in their lyrics not out of conventional religiosity, but as a symbol of a resilience that comes from below.
It is an icon that speaks of sacrifice and unconditional love, concepts that resonate deeply in those who live there urban reality with intensity.
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Bless Me! wants to pay homage to this cultural stratification.
Each piece in the collection reworks a historical version of the Virgin, such as the famous Madonna of Montserrat or the powerful symbolism of the Virgin of Guadalupe.
Bringing these images to contemporary apparel means recognizing that the sacred is not only what is above, but is something we breathe every day between graffiti and sidewalks. It is an invitation to wear a history that spans the centuries, transforming a piece of clothing into a symbol of identity and urban protection.
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