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By Gianni Bologna
Despite the owed praise to who has been bringing forth for a long time the topic about naturalness – sustainability/ eco-compatibility concerning not just our textile industry, we will not be talking on this occasion about ECO- and BIO -. It has never been done neither would wish to start doing it now, for the very simple reason that this dialectical paraphernalia have always sounded out of place, and because that day after day, we are living within a more unnatural and stilted environment and, especially, more ambiguously communicated. This applies not only to the “biological” or “ecological” scope, but also – and perhaps principally – for the symbolic and informative/communicative one, with undeniable consequences on our work too. However, we keep on waiting anxiously that the basic general conditions change and make it possible to deeply analyse them, without forgetting that in relation to textile industry, each companies’ production deserves attention and that the results achieved from man-made and technological fibres have already become part of the history and they represent the most advanced peak of the present.
It furthermore seems that the number of those people who consider these debates as media pretexts, just like many others, a string of “pre-digested” and “released” words, as any other advertising spot, to a public made of consumers of non-ideas and hyper-images that are more and more often misleading and confusing. It is clear that the problem exists and that it is long-standing and impending, but for too many (evident) reasons, too rarely the opportunity to sort it out concretely is given. So far the macroeconomic interest has not been found; it has been then decided to transform it into a “spot” with the appropriate marketing “propaganda” language. Even on that theme, we had slipped into an evanescent and programmed unreality. And again we are waiting that at least some of the current promises could bear real fruits.
Therefore, let’s start from these premises of communicative “overfilling” (I want to stress again that: not only within textile scope as well as within the specific case); on the basis of clear signs of widespread tiredness toward these dialectical tools, let’s do a simple, humble and direct act of consciousness and empathy, without mince words or linguistic frills to the sole thing we, as humans, have in common: the HOME that has been hosting us for millions of years. Our PLANET. We then leave the diction and pre-diction’s exercise to those who think to be able to manage events through “cognitive” and “anticipatory” processing sure of the fact that reality will follow predictions. However, it is unarguable that from time to time something is jamming and the mechanism is not working. Let’s instead do a gesture of affection toward this tiny planetary body which seems to be in a poor state of healthy and which sends us messages about this
discomfort that sometimes are destroying, sometimes disturbing, always disorientating. Yet always dazzling of splendour.
We can get inspired by the undoubted poetry released by the images of this light blue planet which is both origin and part of our DNA and which we would desire to safeguard itself in all its beauty and goodness, but that is getting out of hand. And let’s especially do it as an invitation for a positivity’ gesture, despite everything, even at the cost of challenging obviousness, looking for inspiration for the new season within these beauties with an invitation to remain, very simply and without mincing words, verbal and communicative hypertrophy nor back thoughts, having one’s boots “ON THE GROUND”. Aiming at changing everything to be more sustainable as soon as possible from the material and psychological point of view and committing to TREASURE THE FUTURE (not only the past), considering that the main meaning of the word “NATURE” is “WHAT WILL BE BORN”.
Movements and irregularities on matt textile aspects, not just rough but also coarse. Inspiration is given by roots, timbers, rocks, marbles, clayey sands and soils. Irregular aspects and motifs as stains, strips, unrefined brush stroke, irregular bubbles, gashes. An overlapping of materials which are always quite different, but basically mainly natural. Importance is given to the contrast existing between the strongly rough matter, the clearness and the sparkling colours of precious and rare gemstones. Visible weaves especially on jacquards, but also thanks to very hefty yarns whose structure is often irregular. Natural cellulose fibres, cotton, waved, slubby, flecky, frisé yarns, linen and unbleached linen, vegetal fibres as hemp, jute, ramie for knitting too. Irregular surfaces for stiches and weaves. Blended yarns. Mesh, lace, big macramé, canvas, double plain weaves. Evanescent patterns, not visibly invasive, worn-out, non-defined checks and references to natural elements as cortex, flowers and plants.
Play of linearity (as time) and circularity (as seasons). In an alternation of natural and man-made raw materials, textile aspects (from yarn to fabric) between medium-fine and fine, between gloss and semi-opaque, between ultralight and voluminous. Materials which are different as well as aspects of what surrounds us within the natural environment but in a broader sense, where nature’s endless shapes merge with the work of human craftsman, tireless creator of “artifacts” that, as indicated by the name itself, are artificial and they are not spontaneously created by nature. Let’s remind once more that originally the word “NATURE” means “what will be born” and this bring us back to evolutionary components of the concept. Evolution which can guarantee thousands of opportunities. Dyed yarns with tye and dye effect too. Blending of cotton fine yarns, viscose or synthetic with small roving, little chenille for simple structures, slightly rigid canvas, lightweight poplins and satins. High-quality silk and viscose for pongè and Javanese. Crêpe yarns, slightly waved, with orange peel and moiré finishing. Mix of styles and cultures for a mild and sophisticated ethnic mode, not exacerbated but in line with Made-in-Italy class.
Yarns and fabrics’ look recalls the small ruffles of the aquatic masses where brightness mixes together with some more opaque mattery shadows drawing inspiration from the three consistencies of water: liquid, solid and gaseous. Final results reflect the lightness and the slipperiness, vitreous, plastic, opalescent and shimmering aspects which refer to the living matter and unreal shades of molluscs and colourful and imaginary shells, the ones of underwater vegetation in continuous movement as well as irregular, shaded decorations, fleeing within printed fabrics, jacquards and misting washed-out fabrics. Silken looks (both natural and man-made), plain and even slightly waved, play an important role and they are based on yarns with consequent composition and medium-fine and fine count. Outwear evolution and merger with lingerie and sportswear, summer velvet fabrics, pleated silks, airy laces and soft drapery, organza, georgette and tulle. Overlapping of fabric and voile for 3D changing effects. High-quality polyamide and polyester for dusters and lofty and pleated coats. Light and compact knitted items or coloured mesh too. Jacquard jersey with patterns imitating digital ones.
Clouds and winds are celestial phenomena known by everyone, but there is also the technology working with them and conquering them. Therefore, beauty and poetry’s aspects matched together with images of the most advanced human technology. Sky, the last frontier of humans’ conquest which we represent and with airy materials that are purely man-made as well as with last-generation technological materials that embodies the savoir-faire of homo faber. Last generation materials and ultralight and hard duty technological textile products and aspects mainly semi-gloss and gloss which play on minimal but extremely innovative and airy aesthetics, on technological solidity and “airy” lightweights. PVC, elaborate denim, polyurethane and printed finishing, super fine metals, iridescences and mirror–like effects, micro fleece and protective technological materials of last generation for extreme sport and streetwear too. Parachute and other uses of monofil. Vitreous metal and plastic effects. Minimum fantasies between optical and pop.