At the Sanremo Festival, the clothes are (almost) all that count

Anyone who thinks the Sanremo Festival is just about music is seriously mistaken. In the City of Flowers, it's not just the contestants, hosts, and guests who take center stage, but also their entire teams. There’s management, record labels, and songwriters. Then there are the makeup artists and stylists, who are often responsible for major relaunches and rebrandings—not just in terms of music but also looks, which frequently go hand in hand. We wanted to focus on this last aspect by interviewing Rebecca Baglini, who is styling Shablo, Guè, Joshua, Tormento, Neffa, Alessandro Cattelan, Ludovica Sauer, Mattia Stanga, and Pilar Fogliati for Sanremo 2025. Here’s what we asked her.

Interview with stylist Rebecca Baglini on the occasion of Sanremo 2025

What does it mean for a stylist to prepare for an event like the Sanremo Festival?

Sanremo is perhaps one of the most important and widely followed events in Italy—actually, worldwide. Attention to detail is essential because everything is communication. It's not just about fashion: what happens at Sanremo is costume history. When creating looks, we always start with the personality of the individual. For example, when dressing a host, it's crucial to understand what message they want to convey. When dressing a competing artist, the goal is to complement and enhance the song's message, highlighting their personality, lyrics, and artistic journey. I believe that building an image—which isn’t just about clothes but also includes stage lighting, makeup, and hair—can give the artist up to 70% more impact. We certainly have a great responsibility. This job requires extreme professionalism and involves crucial behind-the-scenes work: from logistical coordination with numerous fashion houses, PR offices, artist management, and record labels.

Where do you start when creating a look for a singer? How do you define their overall aesthetic?

I always start with the artist’s personality. It’s essential to know the person beyond the character, while also trusting my instincts and vision for them. Distinguishing between their on-stage persona and real-life self is key—though sometimes they overlap. The focus is on highlighting their most distinctive qualities and visual elements that define their image. This means amplifying certain traits, toning down others, and working holistically to create a cohesive and recognizable aesthetic. It’s also crucial to consider the history of the brands they associate with because a brand’s name carries weight beyond the garment itself. However, it's important to strike a balance—not to be swayed by a label’s prestige but to recognize a great look even if it doesn’t come from a luxury brand. The goal is always to maintain harmony between brand, product, concept, message, and audience, ensuring everything aligns into one cohesive vision.

How important is the right look for an artist? Does it help communicate their music better?

Not only does it help, but I’d say it’s essential. The best song dressed in the wrong outfit will never have the same impact as an average song with the perfect look. That’s not to say music relies solely on visuals—because music is an art that stands on its own—but it must be well-supported.

Fashion helps communicate music. Do you think music can also influence fashion? How do the two intersect?

Art itself is a performance. When everything is well-balanced, it offers the audience an extraordinary experience—a dream. Giving people a dream means creating a moment so powerful that it stops time. Art on stage is conveyed through many elements: the artist’s movements, lyrics, music, lighting, and even the outfit they wear. The right outfit enhances confidence, making an artist feel their best and allowing them to present the strongest version of themselves.

How important is the connection between a stylist and an artist?

It’s crucial. When there is strong mutual respect, trust, and admiration, you can create something truly extraordinary together.

What’s your first memory of the Sanremo Festival?

Marco Mengoni as a guest. For him, I designed a custom-made Giorgio Armani look that strongly evoked 1950s Neorealism, reminiscent of Marcello Mastroianni. The architecture and interiors of the Ariston Theatre immediately gave me a sense of great respect. It felt almost surreal. The idea that so much music and entertainment history has passed through this stage is truly fascinating.

What are your sources of inspiration?

History, the past, scents, flavors, places, and emotions I’ve experienced. Fragments of my past, scenes I’ve observed, colors that have moved me. The cities I’ve lived in, Florence and Venice, have been a huge source of inspiration for me, along with other beautiful Italian cities. These are places where elegance, good taste, eccentricity, and fun are still alive—where having beautiful clothes is a way of celebrating life.