Mengoni's bodice, Elodie's dresses. When the freedom to dress as we please outrages the "web police"

Clothes make the man . Or at least, they still do in Italy, in 2025: where a bodice can spark a national debate . In recent days, yet another person to end up under the merciless scrutiny of public judgment, the infamous “gender police” , was Marco Mengoni. His outfit changes during the Italian tour did not go unnoticed. And they made many turn up their noses. The smoking gun is, as we have understood, nothing less than a bodice. A black bodice, structured, elegant. And, above all, only half masculine. For those who would like the equation “man = men's clothes” – whatever that means – Mengoni's bodice bothers them. Because Mengoni is a man, he is male, he is Italian. And the Italian male man, as we know, cannot afford certain clothes – or habiti.

Elodie in concert at San Siro

But if it were really that simple to dismantle, or even just map, the lucubrations of the “gender police” , we would already be on the right track. We would know what they hate. It would be enough to continue. But no. The same criticisms, perhaps even more ferocious, are raised even when a certain Elodie “abuses” her femininity . When she enjoys her body and shows it for what it is – or for what she wants to show. Remember the last edition of Sanremo, and the “total naked effect ” – as those in the industry would say – of her dress with a vertiginous slit. The controversy was more participated in than a waltz at Sissi’s court. With the usual precision, all Italian, in counting centimeters of skin, transparencies and seams.

Before Mengoni and Elodie , it was up to Mahmood, Rose Chemical , Achille Lauro . Sometimes for their gestures, sometimes for their clothes. Or for both. Gestures and clothes that tickle the cautious belly of the Italian public every time, still not very inclined to digest freedom of expression and other dishes considered too full-bodied.

But it is not an Italian exclusive. Just think of the cover of Vogue US with Harry Styles in a Gucci suit, in 2020: a photo was enough to open the Pandora's box of the global debate on masculinity, with furious reactions ("Bring back manly men!", thundered Candace Owens, American blogger and YouTuber) and passionate counter-reactions. In Italy the terrain is sandier. Even a pair of earrings, a crop top or black nail polish are enough to generate alarm. But not for everyone. If a pop star does it, it is tolerated. If a singer beloved by mothers and grandmothers does it, panic breaks out.

PD Secretary Elly Schlein

Meanwhile, Elly Schlein herself, secretary of the Democratic Party, continues to receive more attention for her sneakers than for her political positions. Sneakers, oversized jackets, sweatshirts: too unfeminine to be a “real” woman. Too studied to be authentic. Too little groomed to be a leader. Too much, too much, too much – or too little. Always out of proportion, whatever the unit of measurement. This cyclical nature of aesthetic indignation tells of an old, rigid country, where it is still difficult to recognize the freedom of others – let alone celebrate it. A country that mistakes appearance for offense, and identity for threat. Where breaking ranks is mistaken for provocation , even when it is simple self-affirmation. But if it is true that in the 21st century talking about the “society of appearance” is almost inevitable, it is also true that beyond appearance there is being . And perhaps this is what bothers the right-thinking people who rail against the various Mengonis. That is, that way of dressing – or not dressing – symbolizes something that goes beyond breaking the mold, the childish provocation. Not a simple game of mirrors. Rather, a symbol, a space for claiming . This is me, this is me. And I have the right to show myself, without asking permission. Even for those who have little or no public space to express themselves and resonate. It is not (just) a question of aesthetics. It is a question of right: to be seen, listened to, believed. Or not.