The 49th edition of Filo: tastes on sale
The issue of time’s scan, during the past engine of many phenomena, among which the one of ‘fashions’ (now over), has been already partially touched in some past editions of the product development’s proposals of Filo. This phenomenon has risen to a distinctive feature of the current way of getting dressed, to a verifiable certainty of our daily life. Let’s then move the attention from TIME to mental and personal SPACE, land of our expressions and to the change of sensitivity in that regard.
The first consideration, obvious since the beginning, is that this presentation is focused only on street style, or better on the street styles, because nowadays nothing better than what you see on the street represents what is later going against the flow and re-elaborated, if possible, by the creators.
Dress’ digressions, which we see every day, without any possible doubt, are establishing the abandonment of a status of a shared code, of a mean bringing the meaning of some idea of ‘beauty’ matching to the codes accepted by the majority of people and, on the contrary, they are emerging within their new role: the one representing a visible part of the ‘iceberg’ of self-reference, disarticulation (of taste) and fragmentation (of market).
The other appropriate consideration is that, since a public dimension is no longer present, just private activities publicly exhibited can exist and, once established that a shared “ego” is no longer existing as well as a common feeling too, but there are just personal moods, it is perfectly excusable that ‘desires’, ‘whims’ prevail and that inevitably an aesthetics or a fashion accepted beyond the single person or just a bit more is no longer there.
Within this panorama, which at first sight looks like being chaotic and ‘illegible’ one can find some interesting sparks. The key of interpretation has just to take a step forward, or better to the side, and catch that street styles are ipso facto set out of the temporal system, that was the one referring to ‘trend’ fashion; they define the mere present, the ‘here and now’ as a status of generative but not narrative present and they are out of the shared space of a commonly accepted aesthetics producing that kind of market as the one we knew until the recent past. Let’s take note that at the moment this state of affairs does not seem to be modifiable. And it is not even possible to see how it could be changed, considering the dimensions of communicative conditioning which creates this behavioural attitude.
What is often difficult to internalize is that this generative but also anti-narrative present gives origin to a lack of influential creative visions for the market in general but also for old and new ‘institutional’ trend setters and creates just impromptu and meteoric inflows of dress’ ways coming from nothing and which quickly return to nothing. Unless we consider those coming from downstream to upstream. That is to say flow’s inversion.
We have to consider whether what seems to be a solipsistic personalism, an absolute unconventionality, is not changing into a total conformism. The conformism of variability and spontaneity that has little to do with what creatives imagine will be worn.. If we don’t understand this logic – and we do not become part of it – we are misled and do not catch the interpretation’s code of our present: the time of mandatory freedoms. However, playing on various aspects and meanings of this ‘non-conformist conformism’ is maybe the key for that step back or better ‘to the side’ we have spoken about before, using communication (especially Internet) as creator of inclusiveness. This point becomes important in the youngest market ranges. In any case, a product (even a luxury one) cannot be sold anymore just for the name it bears. The youngest ranges of consumers tend to appreciate more being part of a community, rather than recognizing themselves within a logo. That is why the importance of being ‘inclusive’. This doesn’t mean that the market should not defend and preserve its features, otherwise the risk would be to destroy the gained market.
A fundamental point for all sections of the supply chain: focusing on specialities, tuning the presentations and adapting the product to the clients’ needs. it is necessary to delimit the boundaries of a space in which full possession is acquired and in which one is seen as a fixed point.
As far as ‘spaces’ are concerned, both real and virtual, the key word to use in these conditions is more properly ‘borders’. It is possible that borders, disappeared from atlas’ surfaces, will survive for many facets within signs’ system (including the dress’ one too) as lines which vertically cross it instead of drawing horizontally the geometries of any land on earth’s surface.
Decorations (and awards)
Images of a battle between past and present where the presence of fight is delivered within a combination of antithetical images. Compared to the representation of daily life, of course we want to highlight a lighter and sometime ironic elaboration, thanks also to the combination of contrasting accessories.
Study and compact fabrics with a pure and blend basis made of cotton with man-made. Visible but not so exaggerated reliefed weaves such as drills and cavallery twills, reps or geometric jacquard movements with the relative elaborations of coating and doubling, with the presence of semi rigid flocked surfaces. All this is mixed with strongly decorated types from the fake camouflage fabric made sophisticated using yarns comprising noble fibre too as silks and fine fleeces up to illustrated qualities with strong irregular patterns, small and big, both orthogonal and circular, to laces and decisively refined embroideries.
The presence of imitative elements of precious metals and descriptive/decorative interventions expressed with rigid and very bulky yarns though to create relief’s sections on level surfaces takes its inspiration from military decorations.
Yarns strongly orientated towards cotton and man-made components with plain aspects or faux-unis, with just hinted melanges. There are metallic and metal-plastic aspects both in airjet textured yarns and monofil types. Some yarns have a decisively ‘rigid’ aspect and some have surfaces recalling technical chenille.
Out of those famous and over talked about ‘tribes’, but with some moments of nostalgia. If totems don’t exist any longer, everyone becomes the totem of himself and ‘describes’ himself through symbols that from time to time are chosen to customise his present and probably to evoke past experiences within a game of identification and masking.
Blended types. Yarn blends are matched together with the fibres’ blends, wool and cellulosic in medium and medium-low metric counts. Design’s aspects play on decoration of jacquard or on variations of weave insertions. Light shirting weights are printed and combined with medium weights for jacketing and trousers with weave reliefs or cloquè effects. Quite a few jacketing and coating weights seem apparently heavy but that are extremely lightweight actually.
Knitwear and c.k. on low metric counts with contrasting and decorative chromatic effects.
The yarns in this section are to be intended more as suggestions of creative fantasy rather than for their fibre’s components which can be various. The twisting of different counts, chainettes, plaits and coarse slub ones want to evoke a ‘context’ between the one of craftsmanship and the one of folklore, which is strongly varied and free, typical of both customised and traditional textile creations.
Digression on the anarchic fantasy’s mood of a market strongly conditioned by the presence of younger consumers. The Tokyo style of the Eighties had generated a tsunami that after 25 years is far from having reduced its impact and is strongly affecting the collective imagination of young consumers’ ranges but it overflows even beyond them. Mocking and already systemic, rhapsodic in the shapes and institutionalised.
From a typological point of view, we are facing here the most complete freedom but basically we can consider that cotton and especially man made have the main role. There is a presence of finishing elaborations and materials’ printings and a presence of plastic and bright aspects made with both monofilaments and shining cellulosic, with metal and semi-metallic aspects, with hairy aspects of fake fur.
Wool plays the role of warm and ‘comfort’ fibre almost exclusively in its aspects of low or very low metric counts, carded, for both wovens and knitwears.
Yarns. We use this section to show the most visual fantasies but also very bulky counts of wools and hair yarns. And we not forget the presence of very bright aspects that can be found in monofilaments but also in acetates and filament viscose. They bring a touch of sheen when used as twisting’s component for some fancy types.
When it is difficult to find anchors and points of reference, we may look at a disenchanted and slyish ‘minimal’. That is often admired and rarely practiced with taste. If well used, it reassures almost consoling through its certainty of simple shapes, colours and materials. It expresses empathy with the idea of ‘little’ and the willing of letting oneself float among contradictory drives of a present that for some aspects is difficult to define and to internalise. Let’s then talk about understated elegance and the charm of a certain controlled carelessness.
We have here a prevalence of quite classic types of materials and yarns, with a lack of decorative excesses and evident recalls to a ‘soft’ textile’s vision. Only occasionally we find the presence of more visual pure man made: they are used rather in blended yarns imitating natural aspects with the consequent ‘subdued’ air of the resulting fabric’s types. The patterns play with yarn dyed types, mainly no jacquard, on faux-uni melanges or small knops with surfaces not particularly reliefed.
Yarns aim at giving a particular idea of calmness and simplicity. Yarns for fabrics with light weights, up to jacket’s weight for wovens, are prevailing; as far as knitwear is concerned, there are also metric lower counts, with or without hairiness. Some yarns are lightly buttoned and others have twisting in tonal, muted colours. The search for stability and reliability is expressed in fabrics with presences of cables, even strongly twisted, which give to the type a solidity’s air.
If it is hard to find a ‘story’ because it is too far or partially empty of meanings, it is possible to follow the relative tracks within the meanderings of memory (maybe within the mercantile one of vintage) and re-visit it without irony, but rather with pinch of deference useful to understand some aesthetics and experience them again. It would result a ‘light’ elegance’s concept with a non-rigid formalism, young but with a new shade of newly “bourgeois” decency.
Noble fibres as wool’s fleeces and silks, but also cotton, fine man made which do not disfigure when compared to the previous ones. These ones create type with a comforting classic aspect with particularly traditional designs and plain or faux-uni especially yarn dyed. The modernity lays on the combinations with nice fabrics, double sided, combined with technical and printed fabrics, even flocked, on plains and yarn dyed patterns. Jacquard types and knitwear play on reliefs, c.k. on smoother aspects.
Yarns of natural and blended fibres with polyester, polyamide and, for some fantasies, even acrylic. Counts mainly designed for medium and medium-heavy weight fabrics. Presence of melanges, marbled, muted prints and not excessively visible movements of surfaces and twisting for the fancy types.