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Creative Dialogues curated by Gianni Bologna

Filo 62nd edition


To talk about something related to aesthetics, in the broadest sense, it is necessary to deal with the predominant trend and with the ‘IN-BETWEEN’ philosophy. Therefore, we should refer to an essential mediation’s effort which, on one hand, highlights DISTANCES and, on the other, it CONNECTS, for being an intermediate territory characterised by the presence of boundaries generally accepted.

Therefore, we should consider the ever-changing relationship between what existed until a few years ago between the concepts of pleasantness and aesthetic refusal, between standards of what is acceptable and unacceptable, between old-time, current-time and future-time, and we should re-assess the relationship between inside/outside, here/there, staying/going which is no longer represented or designed in terms of radical juxtaposition, but in terms of an intermediate presence keeping together these limits by making evident and marking their distance.

The three parts included in FILO’s product development proposals can seem particularly discordant and discontinuous, but they have been deliberately chosen in this context to stress the underlying philosophy above explained with the resulting rhapsodic style of the representation by images.

Reflecting on the fact that images and their invasive plethora already represent a shortcut of the surrounding world and its interpretation, a kind of synthetic grammar for comprehension (and acceptance) of what we define as ‘reality’, or at least for what we wish and hope reality to be. And not always it is.

We all know that the most significant encounter that a person can experience is the one with his/her dreams.


We don’t want to hint at striptease as risqué show, but as aesthetic and content’s spoliation that our modus vivendi has developed on the shapes which represented, until few years ago, the idea of ‘rules’, generally accepted, and which also included some ‘regulatory’ meanings of aesthetics in general.

For many of us it may seem a chaotic invasion of shape anarchy, but we might also consider that chaos one day may be something creative, according to some of us, so that it can generate new perspectives of Taste.

In this context, we just consider it as an exposition of street wear, which means a spontaneous expression of (micro)-thoughts that result in signals or dreams autographed by current time.


To better illustrate an example of limitless territory, a kind of intermediate area, a spatial and temporal in-between, a juxtaposition, FILO choses the most iconic example of current time: Wikipedia.

A horizontally oriented, neoplastic, and anarchic encyclopaedia, which represents a willingness to research and commitment.

In parallel, this section talks about a self-generated aesthetics, a search oriented to a personal elaboration, even more complex compared to common standards, instead of an adaptation to generally accepted rules. It may be self-referential, but it is distinguished by aiming at a higher level of self-presentation by those who have this style.


Let’s talk about the control of inspirations and temporal mediation between recent past and future taste, about simplicity turning into elegance.

What remains in fashion (and in aesthetics in general) live AGAINST Time, and maybe, absurd though it may sound, this is (or better it was) its specific characteristic marking the sign of its existence, the scan of its era, the icon of the historical period in which it lived.

We now just must exalt the current lack of certain conditions focusing on measure, moderation, nearly basic elegance, gaunt visibility, and special effects. Everyone should find their own elegance, re-elaborating it if the wish is to better represent the thought core of those wearing the garments, instead of the appearance of the garments themselves.


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