For the 50th Filo edition, it is worth to mention how far we have come for more than 25 years, when the ‘bet’ on the launch and the success of an exhibition with a specific and limited focus as yarns for weaving was totally new.
The path has been long and from the very beginning we have been strongly committed to Italian products’ quality (then enlarged to the best products of foreign countries). Starting from the two mentioned aspects: the travelled road and products’ quality we thought to dedicate this edition of product development proposals to those long and fascinating ROUTES, to those roads always covered by human beings, so becoming myths, and to a renewed search for some aesthetic harmony, to the concepts of BEAUTY and QUALITY that nowadays seems less and less frequent to find around us.
Gianni Bologna says «During past editions, I have often worked on those ways of dressing which represent a huge part of the market and that ‘overwhelm’ us everywhere and in anytime of our life: the streetwear, the about-turn of flows of creativity (or supposed creativity) and so on. This time, I will do the exact opposite. To celebrate this ‘historic’ 50th FILO edition, I have decided to dedicate the proposals to the concept of harmony and beauty that is more and more difficult and complex to deal with, more and more risky to face considering market’s situation. This beauty that takes its inspiration from the present and from the past and that we hope to be able to see more widespread at least sometime on our journey.
Carefully thinking about what life shows us every day, this might be utopia; the field of utopia, however, is not always fruitless since there are some seeds which grow even in arid areas and bear fruit. In addition, there is no utopia especially if we consider the last market and background trends’ analyses. They bring us to think about different aspect that only few people seem to look at in the appropriate dimension: that market sector more and more considerably represented by “senior” consumption. This consumers’ segment has more income if compared to young and very young segments (almost totally oriented to goods of immediate use and to low price goods). In addition, senior consumers have a wider experience about products with a higher aesthetic as well as a deeper quality knowledge. This issue is multifaceted and maybe it will be the object of next considerations».
For the time being, we should not forget a strong point that is and has always been essential: Italian products. A non-nostalgic product but, as it has been stressed several times, devoted to the search for novelties on the basis of the Italian great handcrafted know-how and the country’s taste for the “beauty”.
Let’s then talk about three mythical itineraries: ‘SPICE ROUTE’ and ‘SILK ROUTE’ that represented the source of many tales, splendid and imaginary stories, visual and musical art subjects and objects which for centuries have been sitting deep in the DNA of our imagination. And then ‘ROUTE 66’ that has always been, for the sake of antonomasia, the ‘cross section’ of America, its habits, customs and myths that forged a large part of our current cultural references. Let’s start looking for something that belongs to the myth, but that above all leads us to talk about something aesthetically pleasing, something that can be the inspiration for thinking and re-creating some current vision of beauty on the basis of beauties and unique splendours that these old routes gave people who travelled them centuries ago and who retrace them nowadays.
The main focus is on those types based on simplicity and on the content of natural fibre, starting from quality with prices not necessarily high – i.e. for silks in toussah and bourrette – but with some high quality hints of linen and cotton and some hemp for a refined rustic look. Of course, wools are ultra-light and preferably blended with other quality’s naturals or viscose for a greater freshness. Movements on yarns’ structure is given by flaming and roving, also with fairly loose bindings, 2- or 3-ply twisted yarns, quite round cables and raffia-effect yarns.
The presence of fancy yarns is not particularly large since they do not play a major role for the season, except in the case of some parts of knitwear. Even so, there are some examples of mottled yarns and fancy yarns with loose twisting effects and yarns with little knopping effects as well as shiny/opaque effects, mat cotton roving or with leather effect, metal or metal-looking yarns, printed yarns with shaded chromatic elements.
A special attention is given to those yarns with a specific presence of technical content in natural/man-made or pure man-made blends as well as towards fabrics with finishing treatments, especially those that do not excessively affect the final price, yet giving interesting aesthetic results. As far as ‘impact’ and ‘hard’ elements are concerned, AJT ple and pla, some presence of high tenacity types and the presence of metal’s aspects (even if they are obtained through man made only i.e. ple or pla) can be interesting for work-wear oriented fabrics.
From the seas of the South, through the seas, the deserts and millenniums, spices, these colourful marvels, aromatic and very expensive, reached gentlemen’s kitchens and apothecaries’ labs to produce food as well as refined and intriguing perfumes.
We play on the contrast between a prevalence of fabrics which tend to rough and ‘naïve’ aspects based especially on natural cellulosic fibers (from cotton to linen and hemp and other similar types up to raffia effect) and unrefined silky types such as toussah and bourrette and lighter and open woven types, veils, meshes in both cellulosic naturals and bright and semi-opaque viscose generally used for lighter and transparent types enriched sometimes with pearlescent or aged metal effects.
Medium weight fabrics are often weaved with preferably ‘squared’ movements with hopsack basis and small honeycombs even irregular and not diagonal weaves. The movement is obtained also through the juxtaposition of different yarn counts or through the effects of soft creasing and streaking on very light velvets and transparent and embroidered voiles.
The presence of man-made is limited and considered just as an effect support.
Overland travels along the routes and the paths of the world widest continent with steppes, endless deserts and very high mountains and enormous lakes were already a reality two millennia ago. In the meantime, they have also become objects of fantasy stories. And boundless source of exotic dreams.
Eastbound – The ancient route
Starting from the very precious glassy aspects of traditional venetian MURRINE developed on very light veil and velvet types we reach many rich and decorated fabrics, veils and see-through types. The main image is a silky one, with some presence of cotton or very soft and fine fleeces for yarns and fibres’ blends, yet the main roles are man-made products (artificial and synthetic) with some precious toned-down and/or colour shaded metal effects.
Fabrics’ surfaces are enlivened by jacquard patterns, embroidery or juxtaposition of effect yarns or also creases or shaded dyes and irregular and lively printings but without letting any effect taking over the style and elegance’s content; as counterbalance, there are shiny and semi-opaque satins and draping circular knits or ultra-light cotton voile.
Westbound – Today route
Technical/industrial minimal look. We evoke the importance of technical types and related aspects with very hard and ‘industrial’ fabrics for outerwear e work-wear, sturdy cotton and a strong presence of man-made products with high technical content, polyester and polyamide for protective coatings both woven and circular knitted, cotton and its blends for shirting both woven and knitted.
Light wools in technical blends, fabrics imitating leather, impregnated fabrics and high-performance and protective fibres even on circular ones, metal, caoutchouc and plastic effects, technical double face types.
From one geographical extreme to the other along the route that represents the extremes of the USA both in space and time. A cinematographic overview on clichés of a Country which is a great producer of them that, as if by magic, know how to change them into myths. Many times, those varied ‘extremes’ were object of the most disparate artistic forms, form movie to music and many others and they strongly entered within our contemporary common image.
Mainly menswear fabrics with classic patterns for suiting and jacketing which recall the Prohibition time in Chicago where fine wools, linens and top-of-the-range cottons alongside with silk blends for formal types and strongly renewed in their aesthetics. There are also man-made types for waterproofed garments and some quality’s cotton for shirts.
Entertainment and revival with tastes typical of a western film dated to the end of the 20th century. Denim has to be present and, in absolute terms, the strong presence is given by cotton and its blends. Through the support of cotton aspects and cotton/wool blends or cotton/linen ones, we re-interpret ‘quilting’ technique in knitted or crocheted types as well as the ‘basket weave’ technique, traditional method of natives, we propose again in the form of geometric weaves on some woven fabrics. The pattern with madras checks, a classic of cowboy shirts, is shown again in cotton fabrics but also in raffia and on transparent plastic. Also draping viscose circular types of the nineteen-seventies are important.
A tradition that has been obstinately kept – that seems to be almost compulsory – a systematic simplistic use but very consolatory in the appearance, in types and used materials. The message of represented fabrics and yarns (that are all pure naturals: wools, cottons, linens) wants to show not only fibres’ content but also style inspired to the great simplicity without sophisms nor elaborations of patterns and finishing. Linearity and tradition, naturalness and eco-compatibility for this part of America that seems to live in different times and on different planets compared to the rest of the World. But to which a market segment seems to be wanting to come back.