ONE WAY TICKETS

55th edition

Introduction

by Gianni Bologna

Until now, we have lived our life in the so-called MODERNITY and then POST-MODERNITY. Now it’s time to turn page and we can no longer be neither modern nor postmodern in the same way than before, since codes have changed. We have to re-create ourselves in a shape which I would define ‘hybrid’ to think of all possible symbiosis between body and environment, past and future, passion and objectivity, uncertainty and courage and create huge energy’s storage aiming at positively subvert the present and boost the project of one, or even better of many, new CONTEMPORANEITIES, developed in new many possible PRESENTS.

If we want to find the positive aspect of the anomaly, or the advantages of today’s ‘lacks’ or ‘plusses’ inherent in difficult situations, we could find them within the stimulus which may arise to generate a new connection with labour conditions or with our nature itself. It is then needed a ‘re’-cognition of memory’s paths, inclinations, and personal and professional skills. Therefore, the problem is not to find novelties, but rather to give new values to the existing situations, or even better, to re-elaborate and re-consider the things that we already know how to do and, in support of this, to be able to convey a message rich in new meanings that can be accepted by new consumers who carry less and less the aesthetical and value codes that the past (even recent past) industry, was referring to.

It is plausible that, instead of a linear path, we should appropriate a circular or spiral logic. As a consequence, the contrary of progress couldn’t be regression, but entrance (or better “ingression” ), which means the recovery of origin, roots, the embrace of the Earth meant as partner and not as servant. Holding the forehead to inspect what will come ‘after’. Since, there is always something coming ‘after’.

{RE-} CREATING

This section is inspired by artistic craftmanship and by the ‘do-it-yourself’ logic, partially by the ‘certainties of the recent past’ as well as by those imperfections which are based on a sophisticated naturalness mainly expressing spontaneity.

Garments with no season and no time which express reassuring continuity with our handcrafted and artistic manual traditions which made Italy and Europe a wealth of local excellences, which are defined and strongly linked to the territory, but that whenever they are ‘re-discovered’, re-though, re-elaborated and communicated to the rest of the world, they rise to the rank of the new standards of ‘beauty’.

Yarn types with:

FIRST PART: wools and cottons with medium and rather coarse aspects. Melange and light mottled aspects. Lightweight ones are represented in textured yarns, melange too, and in two types of mohair without excessive hairiness.

SECOND PART: this section is largely composed by natural cottons or cotton mixes for shirting and for inter-seasonal medium weights. The most interesting aspects are the ones represented by the blends with linen, ramie, staple viscose, cupra. These yarns are normally linear with rare speckles. A flattened chenille to remind the aspect and the handle of velvet and fustian.

THIRD PART: yarns are mainly matt with woollen rovings, with similar high quality fleece and aspects, also with textured man made, loosely twisted cordonette, micro kneps on melange yarns and yarns with visible ondé sections. Bright touches given by rayon, polyamide and acetate for metal/plastic aspects, ‘extreme’ fancy yarn with strongly visible hairiness and a certainly thick boucle.

{RE-} THINKING

Inspired by simplicity, moderation, and measure typical of a ‘calm’ style which turns everyday life into an aesthetic environment half way between today and yesterday, in a suspended and liquid time. No ‘exhibition’ as an end in itself, but a nearly extremist discretion which generates a reassuring behaviour and for the fact itself of not being ‘visible’, it represents a defence from ‘competitiveness’ inherent in the show-off, considering that, if we must be competitive, it is better to practice in a more productive field, maybe the one of the intrinsic quality and the conscious and durable consumption.

Fabrics which are both elegant and anti-elegant, but most of all ‘convincing’ as such, and they evoke a timeless style made by those who wear them with certainty and a good dose of sophisticated nonchalance. This intention results in rigorous patterns normally with small repeats in yarn dyed types and in the reserve dyed ones which play a certainly more important role compared to the printed ones of previous seasons.

Yarns are very similar in the two sections for men and women. The basic and almost continuous inspiration is essentially the one of unisex types and designs, which comprise matt aspects or at least semi-bright and blends of natural fibres, even noble as fleeces and silks, sometimes with high quality man-made . There are some hints of metallic brightness and small presences of glassy lights given by polyamide monofil. Pure and blended wools and cottons, linens which are primarily yarns blended with very classic plain aspects and tops dyed. There are also finishing treatments which are slightly visibly plastic coated and ‘stone’ as well as some lightened double-face ones.

{RE-} STARTING

This section is dedicated to a style which is neither sportswear nor formal or elegant. It is something halfway, an hybrid, a circular and mobile style which uses urban sportswear comfort and blending it with sophisticated lines and materials for ‘special occasion’ formal garments (sometimes even ‘evening ones’) and which takes the most advanced and high performing technical material
but it re-elaborates it having in mind many images of movies half way between science fiction and glamour, between a narrative future and a particularly active present, inventing a play of flash backs and utopias, entertainment and future focusing on eliminating especially those aspects which create concern and apprehension.

Of course, this is a section where man-made types prevail on the others, even though some natural elements are present just to prove that the process of fibers, yarns and fabrics’ creation somehow should consider implications and limitations of a production that should be as eco-compatible as possible. Without forgetting that on these foundations, apart from being with or without any natural blending component, all important ‘plus’ of new technologies are introduced.

COLOUR CARDS