FASHION: critical element in textile industry
This topic was treated in 2005, five years ago, by CAV. Mario Boselli, labour then as today, President of the Camera Nazionale della Moda Italiana, in an article entitled: "The textile-clothing-fashion in the world," published by the magazine Company & State.
Mario Boselli, in his report, listed the reasons for the success of the system Italy saying that the pillars on which rested the Italian fashion system were two: one based on our culture, our history, our national heritage at a glance we can define "Renaissance" and the other the technology based on the completeness of the textile industry, the textile machinery and on applied research. Mario Boselli in his article, he also mentions the "crucial phase of textile finishing" and resumes the term of "tissue" hand.
Today, after five years, it confirms everything Mario Boselli anticipated that Italian fashion is an element of strategic importance in the textile industry.
By this account, the my today's report with which I intend to deepen the meaning of the term "fashion" under the historic profile but especially technically.
Historically fashion, understood as a variable costumanza, began to affect large sections of the population, only after the second world war. Before that moment is not about fashion but at most by custom, foggia or costume. The clothes "model" were unique and were used for a single event, were made by tailors, the tailors who create the leader par excellence; the rest was customary and usual devoid of style and creativity. At that time, the leitmotif of fashion came from France, from Paris, from tailors workshops of the city of fashion.
In 1951 the Marquis Francesco Giorgini organized the first collective show in the White Hall of Palazzo Pitti by inviting the top emerging Italian style signatures such as Krizia, Missoni, Pucci, Valentino and Roberta di Camerino. But the big turning point came brought by the revolution of ' 68. The unique patterns of hand-sewn Couture bespoke tailors in the atelier, became obsolete and outdated in the world revolution that dressed in jeans and eskimo. On the other hand people who until then had dressed without pretense, claiming better quality clothes, with a "style" and, at the same time, with contained costs. Starts in this way and at this time the industrialization of "style".
In the years 70 impose themselves designers. In ' 72 debut Laura Biagiotti and Roberto Cavalli, while in Armani and Sergio Galeotti 75 founded the Giorgio Armani S.p.A. In 77 Fendi States and devotes himself also to Accessories, in 78 break Versace and Ferre. At the end of the team winning 70 of the Made in Italy is ready and anticipating the birth of "prête à porter", normally linked to 80 years. The figure of the designer continues to prevail and to stand up to the point that the "Made in Italy" goes in search of a larger stage suited to its new size. The Milan trade fair is ready and will be the answer to these needs.
The Milan becomes fashion "MilanoVendeModa, Florence is abandoned; in Milan the parades led by Missoni and Krizia. In 1979 Beppe Modenese, fashion eminence, brings together some forty companies in the exhibition halls of modit ". In the same year the exhibition is completed with the creation of the centro sfilate of Milano Collezioni ". In this context, one after the other, climb into the catwalk all larger signatures. By 1982 MilanoVendeModa will be incorporated from EXPO, the institution that organizes exhibitions on behalf of the Trade Union. The conclusion is that in the next year, the show will go up on the stage of Milan trade fair with an unprecedented success. We got to the point that it becomes synonymous with the entire MilanoVendeModa demonstrations; Florence abdicates to less mundane setting of Fair where the news are increasingly industrial spaces and below.
80 years mark a further progress of Italian fashion in the sense that from the fiera di Milano trade fair in the world. Explodes the phenomenon of stylists and Alberta Ferretti debut (80 's), Luciano Soprani (1982), Enrico Coveri (1982). The collections spread, specialize, segment in the different lines: young people, women, men in order to arrive at a specific style of jeans. The first jeans signed, signed by Armani, bursts in showcases in ' 81 to Lit. 18,000 head. At the same time, the covers of conquests Armani Times, a symbol of consecration of Italian style and of Milan, international capital of fashion. This city becomes the stage for new phenomena like Trussardi's statement through a new form of advertising which occupies big spaces, from Piazza Duomo to La Scala. Starts also the phenomenon of parades – show stretched to an ever wider audience.
Fashion goes crazy, everything becomes fashion, the fashion ramp, fashion stands out by Timberland Armani jeans, Moncler down jackets. Fashion addiction is such that is stigmatized by the new term "fashion victim". It is precisely with the irony about fashion victims, it says between controversy and twists the style of Franco Moschino; in ' 85 parade Dolce and Gabbana, flag of a regional style. The overtaking Milan to Paris, the historic capital of fashion, so that in full-blown 1989 Gianfranco Ferré is called the artistic direction of the Maison Dior, Max symbol of "French Saint-Honoré".
In the years 90, Europe prepares to great Union under the EURO sign for MilanoVendeModa also merges with Modit in MoMi-Moda Milano. Now, the "Made in Italy" moves on the world stage while continuing to rely on that show from which it was party.
Start the new millennium with MilanoVendeModa that has become a MI MILANO PRÊT À PORTER. Made in Italy is the millennial turn many houses will merge into poles of international luxury, combining fashion and finance transforming brands into multinationals. In 2003, after the experience of MoMi-Moda Modit in Milan and MilanoVendeModa return to be independent events. The rest is history of the latest years 2000, which at the end of the first decade are the refounding of MilanoVendeModa at MILAN PRÊT À PORTER. So much for Fashion Fairs, while for all the recent years the parades representing the highest levels of Italian fashion style were always organised by the CNMI and changed only the name from Milan collections at Milan fashion week and Milan fashion week.
The colour in fashion
Nowadays, I think that fashion should be understood as a function of the distribution so important to be able to say that without the fashion there is no market, no fashion there is no consumption. Technically, I think that Italian fashion is the result of four basic elements in synergy between them: "the typical Italian fantasy" (the creative area of Boselli) from which arise the best Italian designers; "technological research" (the technology area of Boselli) based primarily on the development of textile finishing; "the hand of fabrics" (synonym of style) and finally the important role and that of the "color in fashion".
Style, imagination, hand finishing, color, these are the pillars, all Italians, that make fashion a piece of strategic importance in the textile industry. While it is true that without the fashion there is no business, it's even more true that without style and colour you can not talk about fashion. The objective of this research is to combine style and color such as key elements to create fashion.
We ask ourselves if the colour and suit of Coveri, silk printed Dolce and Gabbana, Moschino and suits ask ourselves if there are perhaps comparable to the most famous paintings of 800!
Let us help with the "history of art"!
The so-called "Impressionist" painters of the 800 are so called not because used impressive colors, but because their works are recognizable to a non-conformist style i.e. rejection of academic painting mythological, historical, and for the renunciation to start and carry out studies or atelier works. Impressionist painters are recognizable for their creativity born of the "true" meaning "en plein air" (outdoor) able to grasp "Dead Poets Society" offered by the colours of nature illuminated by sunlight at that precise moment.
The term "Impressionism" was coined in a derogatory sense by critics of a journalist on the occasion of the first exhibition organized in Paris in 1874 where he exhibited a work by Claude Monet entitled "Impression, soleil levant". So the rising sun, the feather of a morning sunrise to Havre, aroused in the mind of the artist an "impression"!
Attention: within the framework of Monet are not colors that impress! Are the scene, the context with the set of colors in an image that leads to an impression in the mind of the artist in the sense of "to think".
The fact is that this painting is derived from the term "Impressionism" which became the name of perhaps the most important movement in art history. Then there are impressive colors, but situations or contexts in which impress the viewer's soul or the artist thanks to the complicity of colors. The colors taken alone are unimpressive and not arouse emotions; is the context which involves the colors making them become protagonists of the scene. One color, two colors, different colors, only if present in a context, can excite and impress; If you contribute to give shape to an object can become meaningful; Finally, if the objects represented are the result of pure fantasy then you get creativity, pure art, i.e., the originality of the work, the invention, the masterpiece. Now you understand why Picasso is a famous artist.
The same thing occurs in the textile and the weaving, dyeing and finishing of a fabric that is designed to be "shaped" by the imagination and from the hands of an artist, the designer who interprets or determines the "fashion". But it's not over because the judge a "model" as a packed fabric, does not intervene only the sense of sight i.e. the judgement on the chromatic aspect of context; also a second way that involves the nature of the fabric and the fabric finishing has been subjected; all this happens through the fingertips of our fingers, i.e. through the sense of touch which determines a more or less exciting feeling able to communicate the hidden property of the tissue in question up to the point of being intimately involved, as if the same had the ability to transfer the feeling of intimacy through the sensitivity of our "hands". And so that a tissue before you even become a model, buy and has its own "hand". Style, imagination, hand finishing, color, I repeat, are the pillars, all Italians, that make fashion a piece of strategic importance in the textile production chain; but the winning weapon for the future, in my opinion, will be the color, through the combinations and the harmony of contrasts.
Maybe someone of those present did not know that an internet site, at no cost, and create every day, thousands of accostatate shades together in harmonies designed and governed by the laws of mash. These are the so-called "Kuler panels" detectable from http://kuler.adobe.com
The kuler panel provides access to groups or topics of shades, created by an online community. You can access the themes of nuances, modify the same by creating new approaches based on an automatic and harmonious policy proposed by the pop-up menu; but the most original ability is the ability to identify the nuances in a CMYK color model adapted from Kueppers color theory under the rule of the subtractive mixture in which all the nuances you quantify the use, as a percentage, of four colors: two secondary colors plus black and white is taken from a white background. With the CMYK color model you can directly calculate the percentages of pigment to be used in the formulation of a paste for printing or for potting. But there is more, the nuances in the kuler panels are identified with a second color model RGB model, with which it is possible to interpolate and ricettare the nuances according to the rule of "integrated", mixing a discovery of Kueppers in his "color theory". Integrated mixing, invented by Kueppers, produces the purest shades more real, less expensive and less polluting than those obtained with the subtractive mixture, always through the use of only four colors. in this case the use of a primary color, secondary color, black and white, taken from the white background.
The practical application of the theory of Harald Kueppers color in textile finishing is really fascinating and at the same time. I think it will be matter of study and application of the future, particularly in the textile industry to meet the future needs and expectations of "fashion textiles", linked to the dynamic and continuous transformation of increasingly global society, but at the same time more and more colorful as it continuously connected to the various cultures it comprises.
1) M. Boselli "textiles y prendas de vestir en el mundo" revista de la estatal empresa & Camera di Commercio di Milano 72 (2005)
2) R. Dubbini "explorar la teoría del color de Kueppers h. 10 Tinctoria (2006) 31-35
3) Dubbini m., r. Dubbini, Rosace g., f. Sapienza, "estudio comparativo de las teorías del color de Johannes Itten y Harald Kueppers aplicada a teñir con foulard pigmentos" – Tinctoria – 3 (2007) 37-44
ROSACE 4) g. "nuevas fronteras de colorimetría: la teoría del color de Harald Kueppers" – Tinctoria – 6 (2007) 32-42