Seated on the steps of an octagonal construction placed centre stage, we take part in the show that unfolds on two concentric levels, two different dimensions, distinguished not only conceptually, but also spatially.
The higher level, the outermost, is oneiric and speculative which represents the inspirational, most creative and profound part. It’s the dimension of the “Giants”, the Titans, and the Fomorians. A hypnotic and circular sonority composed of vocalizations leads us to the edge of reality and illusion, to a land as yet unexplored.
The inner level represents the human dimension, made up of the aspirations we find projected in our dreams, thus in the higher circle. The focus is on the collection, enveloping but fluid, everything is soft, rounded and easy. An invitation to the smoothness of motion, to lightness, to newfound values: weightless but substantial. The rustle of silks, the turban and the reinterpretation of Playsley evoke the Indian spirit of the epic verses of the Mahabharata.
A self-loading, self-charging mechanism in which everything moves in a clockwise direction.A performance of “Extracted Art” in which there are no solutions of continuity because there are no hierarchies in the creation of an idea, but only details of equal importance.
The aesthetic becomes a metaphor. The chromatic development flows in waves of colour, from blue to white, symbolizing the attainment of a state of serenity and light.
A story that narrates a language not yet codified but which already lives in our consciousness, comprising the world of imagination and the use of technology, that has become part of our daily lives.
THE MAIN CONCEPT: retrieving the essence, capturing the scent of what has led us to this point. The amalgam of knowledge and skills which produces a result of such extraordinary elegance and classical appeal. Modernity entails sweetness; it means going back to one’s roots and having fun along the way. THE KEY WORDS: roundness, rhythm, light weight.
THE SURPRISING ASPECT: the absence of weight and the sound of the garments: they rustle.
THE SILHOUETTE: maternal, soft and comfortable, contrasting with the discipline of the tailoring details and the bold cuts. Feminine in principle, yet externally virile and powerful.
THE MATERIALS: total silk, also yarn-dyed, near-impalpable treated cottons, with a modified structure.
THE PRINTS: the Playsley print, in its most traditional and original version, is interpreted in degrading, softened, mellow shades. It is teamed with Madras patterns or has the texture of memory, of a pencil sketch. THE JACKETS: the lapels are rounded and echo a man’s uniform somewhat. Whether it is Saharan, appearing as if borrowed from a soldier on a pilgrimage or the perfect look for a party at the embassy, they are all impeccable.
THE TROUSERS: loose, narrowing around the ankles or left in a straight loose cut.
THE SHIRTS: long and comfortable, made of sumptuous materials and featuring luxury décors.
THE EMBROIDERY: hand-crafted, the embroidery is the feather in the entire collection’s cap, based on the principle of ABSOLUTELY MADE IN ITALY. THE COLOURS: ranging from blue to brilliant white. They include autumnal shades faded by the sun, worn and dense, mixed together, with sporadic bright appearances.
THE DETAILS: internal piping, metal buttons with engraved Playsley pattern, detailed pleating. The folds of the must-have turban are implemented in the shoes. BRAND NEW: the third garment component: the headphones, which replace the waistcoat, are covered in fabric and worn like arcane jewellery. THE ACCESSORIES: large, ultra-light printed leather or nylon bags, genuine sandals. Beautiful, essential and for authentic travellers.
THE SUGGESTION: everything is physiological yet it still appears to come from a deeper dimension, following the heartbeat of the world, having remained beyond the grasp of time and space. Without a beginning or an end.
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