Product development proposals gallery · mood 1
Product development proposals gallery · mood 2
Product development proposals gallery · mood 3
“Time · 1”
Product development proposals gallery · mood 4
“Time · 2”
Product development proposals gallery · mood 5
“Time · 3”
Colour Cards Gallery
By Gianni Bologna
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:
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 and 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.
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 they 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 mens and ladieswear for a ‘primitive’ elegant look.
Silky aspects also with viscose and cupra 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 that range 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.
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.