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The 51st edition of Filo: Dissonance

The 51st edition of Filo: Dissonance
In vista della 51a edizione che si terrà il 27 e 28 febbraio 2019 al Palazzo delle Stelline di Milano, Filo propone ai suoi espositori e, più in generale, agli operatori del sistema del tessile e dell’abbigliamento le proposte sviluppo prodotto, elaborate da Gianni Bologna, responsabile creatività e stile di Filo.
Macrotrend
The main result of the plethora of images that is poured on us every day is REPLACING our imagination with a mismatched menu of mirages whose importance and duration last for an instant and whose purpose is often just distracting. If it is possible to talk about trends, we cannot avoid mentioning that apparently irreversible trend towards temporariness and circulation of myths on fixed-term to be consumed immediately or in a short time.
Beyond the usual proposal of real textile materials, what we have tried to do at this stage is proposing a series of inspiring images in order not to give a mirage’s diaporama but a content which tries to include a further meaning and to bring to the creation of textile products of a certain depth and with some aesthetic innovative contents.
In order to show that, we have taken the cue from an ever-stressed and ever-present juxtaposition, and we tried to exalt it: on one hand, the need for strength in the condition of harsh competition in and out of the workplace that brings us to develop aptitudes for fighting which are increasingly draining and selective, almost at genetic level; on the other hand, the growing ambition to calm and the ever increasing need for ‘leaving’, the desire of taking a step backwards, the will of ‘retreating’, that is however difficult to carry out except for a small minority who can access to that condition.
As far as textile material is concerned, both themes have been developed according to discord and contraposition referred to hereinabove and to sharp contrasts, within the search for hybrids, overlapping, different depths in aesthetic contents, in materials and in colours.
Textile Themes
STRENGTH
Let’s think about the call of the wild North, a land that avoids any kind of mediocrity, temple of the eternal ice and extreme climate, place of the strengths of untamed and fantastic nature, landscapes of incomparable charm, source of extraordinary magic and surprising splendours.
Surfaces and lights that it is impossible not to define as lunar, with the precise sensation of losing yourself in a primitive world that no longer exists elsewhere but here, nearly unchanged with its extreme hardness, eternally variable lights and its tradition of fairy tales typical of those latitudes.
Two sub-themes to frame this polar proposal: North Seas and Iced Lands
STILLNESS AND TIME
We have chosen to represent calm through the show of the Mediterranean sea as the place of Time in its different depths and in its numberless layers: our two thousand-year long history and our beauty is illustrated through an itinerary from the East to the West along this sea of multiple charm through its past, present and future geography. The theme reflects the growing need for confirmation of our roots, or at least of the parts which we are left with today, and the attempt to contrast the less pleasant aspects of current aesthetic chaos aiming to change it into a new order, even though, for the time being, this could seem a bit crossbred, confused, far and maybe even utopian.
Three subthemes which identify three places and three founding periods of the development of this ‘Mediterranean’ aesthetics: Time 1; Time 2; Time 3
TEXTILE CONTRASTS
The elegant ‘opposite’: never traditional, never excessively informal, never shabby. Hefty cottons, cotton blends with wools and man-made often used even as basis for further processing.
Basically masculine or unisex materials both formal and casual also with a strong presence of very ‘sturdy’ cottons as basis for finishing treatments.
Apparently understated: textile aspects and yarns that seem to be poor but are actually refined.
Slightly rustic materials but lightweight as etamines of fairly coarse wools and cotton and/or cellulosic meshes, simple materials as heavy shirtings made elegant and elaborated with yarn dyed patterns or printings or over-printings. Thick, woollen aspects naturally hefty.
Wools: from medium to heavy (lightened by the presence of high-quality fleece), to the ones with even long hairiness.
Heavy soft wools with re-elaborated short hairiness, woven with sculpturally reliefed surfaces, both for menswear and ladieswear for a ‘primitive’ elegant look.
Silky aspects, also with viscose and cupro, both fibre spun and in filament, bright and draping.
Silks: beside satins and heavy cadìs with peplos’ round draping, we propose a series of rustic silks, from bourrette to toussah.
Contrast between sheen and mattness
Man Made: very important for both extremely lightweight counts of monofilaments aiming at clear and mother-of-pearl aspects of transparencies, and in protective and performing versions of heavy and very heavy counts.
Materials for technical clothing both normal and extremely protective with high presence of man-made circular knits, interlock and scuba.
Materials which are inspired in plastics and thick glasses but transparent, even with embroideries and embossing.
Lightweight and transparent materials which recall ices and iridescences of polar auroras.
Decorations: made by jacquards also of big repeats and with a certain stress on embroidery.
Metals and iridescences, taking care of the importance of their chromatic shades. They are undefined, steel hybridizes with silver and gold is pink or tends towards a bronze and copper shades. Iridescences play on soft tones of mother-of-pearl pastels.
Nearly undertone colourism varying among rigidity, naturalness and super-elegance.
Finishing ranges from velvety to silky up to rigidity and evident consistency, coatings are aesthetically elaborated or strongly performing to exalt the presence of technical plusses in the fabric.
COLOURING
Whites are soft and blurred, pale greys, medium and metallic, primordial colours which imitate natural dyes. Hazy greens and blues.
Almost ‘synthetic’ lights that are inspired by Aurora Borealis.
Matt yet vivid colours, mixes of cold and warm browns. Sand shades and ‘mineral’ pastels.

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