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44th edition di FILO: Future Thinking

If in the last season we spoke of archives and therefore of a historic, experiential base which can and must serve as a starting point for imagining tomorrow’s products, let us now speak about that “Tomorrow”.

And that even if on more counts people insist, and not always wrongly, that we are living flattened in an eternal present, in an era in which haste (or a time without time in which everything rushes about in an unseemly manner) not only prevents us from living the present to the full, but also from reflecting calmly on what is happening within us, and thus from elaborating complex plans.

But it is precisely in the juxtaposition and apparent contradiction of the two terms present/future that an interpretative key may perhaps be found, which can be reassuring and, in some way, constructive for our purposes.

We take the opportunity given to us by the celebrations dedicated to Leonardo da Vinci to focus on the outstanding feature of the Character: its concept of the FUTURE. Or better what we perceive as such but which should have not been as such to him. Its work was the PRESENT of its IMMAGINATION, the moment lived of its never to be equalled CREATIVITY.

In its time the future did not arouse particular fears and evidently hour glasses worked in a more relaxed way than our chronometers. This does not nullify the validity of the belief that even then the best way to conceive and to make the FUTURE was to “create it”, even from nothing.

This could be the message, which proves useful to overcome the years in which the place up for innovation has often been occupied by nostalgic, revisited moments. It is an invitation to look ahead on the base, as we said last season, of our textile past, school of aesthetics and taste difficult to equal. Let us ignore the steps backwards and let us focus on re-invention, very driven technicality and on the so-called “classic” sectors, which remain the spearhead of our textile industry.

We, therefore, believe it opportune to propose some re-thinking of the proposals of textile aspects which might stimulate the offer of new products with an “incorporated future” which causes us to think further ahead. Beyond the long, short, very short free circuits, simply starting from the assumption that innovation and creativity are the only motors of the future for the entire textile chain, from fibre to finished garment, in whatever given form may be applied to them.

Starting from this premise we have tried to update the concept, thinking of some aspects that characterize our present time, which however, in their state of embryo, already can be found in the incredibly precursory works of Leonardo da Vinci.

  1. The age of man as a person
  2. The age of machines
  3. The age of competition as a fight
  4.  The age of botanical rarities

The four textile trends

  1. The age of man as a person
    Light weights also in reinterpreted classics, in the degree of sheen, in composition and in processing. Natural fibres, regardless of how sophisticated they are, do not hesitate to take advantage of possible hybridization with man made fibers or to serve as base for finishing re-elaborations such as printing or spreading. Geometrical decoration still resists but is a little distorted and at times broken.
  2. The age of machines
    Extreme lightness (to take flight) and compactness without hesitations (to resist). Perhaps it is a kind of materialistic, mechanical “contrary” elegance. A general opacity but also very sophisticated work on brightness in reciprocal counterpoint almost to underline the more “sentimental” features of the naturals and those frankly “mattery” ones of the synthetics.
  3. The age of competition as a fight
    Physical or only mental armour, real or only from pure imagination for battles, at the same time hyper modern and ancestral, with one eye to the fights of Star Wars and the other to the warriors in the Moghul miniatures. The armour is of resistant, very decorated textile, nothing recalls violence, everything calls to mind a performance of Ariosto where the bloody parts are concealed and leave room for the play.
  4. The age of botanical rarities
    Flowers and nature in general as new life companions, decorations to apply both onto jacquard and voile, onto transparent knitwear and feminine georgette and also onto more rustic types destined for agreeable, uninhibited menswear. The flower and lace themes are proposed once again to underline the need to support and celebrate what we unconsciously feel as an ancestral part of ourselves which we risk losing.

Biella, 22 june 2015

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