A Story of Ascension and Acceptance
Luca Daly '25 studies fashion design and printmaking at Bennington. In collaboration with the Advanced Design and Collaboration class, Daly created DESNOS: A Symphony Of Sin, a hybrid fashion performance piece melding fashion and dance based on the 1922 Nosferatu film. DESNOS will be performed on Saturday, May 24, at 7:00 pm and 9:00 pm in VAPA Lester Martin Theater.
From where did you draw your initial idea for DESNOS, and how did it change as the rehearsal process/classes progressed?
When I was little, one of my brother's favorite films was a 1922 film titled Nosferatu, and during the time he would obsess about it, writing stories, putting on costumes, and all around being entranced by the story. The costumes used to frighten me as my brother chased me around the house in his made-up cape and fangs. That period of my life was turbulent for me for that reason, but looking back on it, I think it influenced who I am today, an aspiring costume designer. For this reason, I am dedicating the show to my brother, Max, for helping shape my future.
Connecting to that time, for my senior project, I want to create a fashion show that will help me understand my past, and more importantly help me and others come to terms and put to rest fears, anxieties, and trauma that stem from past experiences.
Inspired by my childhood experience of Nosferatu, but also by Richard Wagner’s idea of a Gesamtkunstwerk, a Total Theater, which Oxford Reference defines as “a total or unified work of art, in which all elements–music, voice, movement and spectacle–work together,” I intend to create a full performance that engulfs the viewer, instead of leaving them stranded in their seats, away from the action. I want to bring the bravado of theater, the drama of dance, and the rhythm of music to the runway, and tell a story of ascension and acceptance.
The title DESNOS can be read as "Desnos" as a type of PTSD which stands for “Disorders of Extreme Stress Not Otherwise Specified.” It can also be read as DES-NOS, which to me means “Destroy Nosferatu,” in reference to overcoming a feeling of being haunted by a “vampire,” which can be a representation of a past trauma or any number of modern vices.
The show is a story of ascentions, with the garments getting lighter as the show progresses, culminating in a rise to the peak. Each look represents a stage in the process of healing, from the false paths with vices in the first part, and a more healthy approach and acceptance in the second part.
This show is for all those out there who are fighting their own “Nosferatus” and can be an experience for them that shows that there is a silver lining, that there is hope.
With regards to change, I was constantly reconfiguring the show from feedback and other suggestions given to me from friends, family, and teachers. During this time, many motifs were added to the show to elevate the message of the show, including motifs pertaining to subjects such as religion, identity, vices, and love.
As the term went on, I also received feedback from the classes I was taking, such as 3D Fabrication, Digital Text Layout in Illustrator, and Advanced Projects in Printmaking. These classes helped me hone in my skills and figure out work arounds to difficult problems.
What surprised or challenged you the most about developing DESNOS?
The casting process was probably the most challenging part of the production due to the fact that, since Bennington is mostly a drama college, I was looking at actors and performers. There is quite the distinction between actors/dancers and models, but I used that discrepancy to my advantage by creating a more story-based runway show.
Do you have a favorite moment from rehearsals (or a favorite line from your play) that you'd like to share?
One of my favorite parts of the rehearsal process was when we did our first full run through, and I realized that everything was coming together, and the show was moving in the right direction.
When working on pre-production, I was always focusing on the smallest of details, stringing everything together into one coherent story, but when we finally got to rehearsals, I was able to take a step back and see for the first time what I created, and it truly surprised me.
What do you hope to do after Bennington?
After Bennington, I will be taking a year off to travel and try to find work in my industry. Afterwards, I am hoping to go for my master's degree in Menswear Design overseas in either Paris, London, or Antwerp.
Do you have an excerpt of the script that you'd like to share?
While my show does not have any dialogue minus one phrase, it would have to be the text I printed on one of the looks, a quote from Friedrich Nietzsche: "He who fights with monsters should be careful lest he thereby become a monster. And if you gaze long into an abyss, the abyss will also gaze into you."