Lucinda Popp for Filoscozia®/Filmar @ Feel the yarn
Filoscozia® Academy to
Filoscozia® Academy to Premiére Vision 2013
Filoscozia® Academy: research topics and the team
Interview to Marco Marzoli, president of the Filoscozia® Association
Filoscozia® Academy is born
“Filoscozia® the original”: 2012 renew
The Survey: Filoscozia® is a quality textile!
Filoscozia® Academy: research topics and the teamDecember 14th 2012
Collaboration by NABA in the Filoscozia project has given rise to a working group comprised of students of the three-year Fashion Design and of the two-year Fashion & Textile Design courses under the guidance of teacher Ada Lusena.
The team developed an initial research project that led on to the macro-topic of OVERSIZED, from which three developments flow: ILLUSION, NOW I SEE/NOW I DON’T, FILLED/EMPTY ILLUSION, or concealment that displays: what appears to be, but is not.
These are concepts that emerge from the liberty decorativism style of Teresa Maccapani Missoni. As with the ‘non-sock socks’ project, working separately and drawing their inspiration from traditional Japanese sandals, Simone Liscio and Nicholas Lorenzetti have created sock/shoes that play on the contraposition between filled and empty space, between the visible and what is not seen.
In Mara Cattelan’s work, ILLUSION becomes a game through extending forms that enfold the body as if in a dancer’s embrace. The theme of NOW I SEE/NOW I DON’T leads the eye to confusions, expressing itself in covert but specific interventions on the material, as in Carolina Rudloff’s project that uses overlapping colours and textiles to create different levels of interpretation. The FILLED-IN/EMPTY world leaves material spaces of being and non-being: Mevlie Cesur uses different macro and micro textures for stockings with a thoroughly genuine exercise in camouflage. The theme of filled/empty is shown using flared symmetries that can appear to be boots, trousers or skirts.
The creative team at FIT Milano, under the coordination of Lisa Feuerherm, has produced a research project into tricot knitting, inspired by the effects of vibrations on materials and surfaces. For Sydney Glen Roark, the beauty of these vibrations is expressed in the translation of movement of sound waves in flexible knits, with three-dimensional patterns in relief. Catherine Quirk has given form to vibrations by creating two-dimensional symmetrical motifs, a kind of “sculptures in sound” that captures the beauty of sound by transforming it into sculpted knits. While for Kourtney Hankins, the frequencies take form in jacquard motifs that vibrate through a combination of threads of differing densities in exaggerated and versatile silhouettes.
FILMAR and Cotonificio Olcese thread was used to produce the projects. The knitwear fabrics were produced by BESANI. Thanks also go to FRAMIS ITALIA for the accessory materials and for technical support (NOSO®-bonding technology, quality with style).