Three stories, three searches for contemporary inclusiveness

"I think we are witnessing the radical end of every canon, the discovery of the indefinite multiplicity of bodies, of their incessant diversity in the world...".

If it is now almost obvious to be able to affirm words like these, when the philosopher Jean-Luc Nancy published his avant-garde thought at the beginning of the nineties, we were still at the dawn of reflections that would have led to a new way to understand our body and our relationship with physicality.

Thirty years after those words, design has also made its way, and the body has become an object of experimentation for new formulas that communicate through form and matter a new idea of the body beyond the canons of which Nancy wrote. In this transformation, even product designers - perhaps more than the fashion world - have a lot to say.

Uniform cancelled, revolution beyond the size system

Born and developed from an idea by Diletta Cancellato, cU (English pronunciation, see-you, to underline the centrality of the person) was born from a simple but hard to affirm concept: "Welcoming and involving the individual in the design phase. It is the clothing that must adapt to the body and not vice versa" explains the designer.

"For ten years I had been studying how to arrive at a product that could embrace as many bodies as possible. I found that way in a sizing system that works in height and not in width".

Changing the typical approach of the fashion system, always based on classification with sizes ranging from XS to XL for women and from XS to L for men, Cancellato changes everything and defines the same range of volumes with three options refer to the height of the person, with a fit scale designed for heights ranging from 1.30 to 1.90 meters, therefore also for children or individuals suffering from achondroplasia.

Technically, an item of clothing of this type can come to life through a sophisticated mix of solutions which in this case converge in the design of cU: an accurate study of shapes and modeling, the use of particular yarns, the knitwear 3D".

And all to achieve, as the designer explains, "an integrated inclusiveness without placing people at the end of the path but, on the contrary, putting them first. Whoever they are". It goes without saying that the paradigm change affirmed by cU is also in the corporate form, as it is a start-up that is also a benefit company, formulas not yet widespread in the fashion system.

Older Studio, all the beauty of the uniform

Even the change of scene triggered by Older Studio, the Italian-Danish duo formed by Letizia Caramia and Morten Thuesen, comes from a world where fashion and product they meet happily.

The starting idea of this couple with an important background in the style offices of Alexander McQueen, Balmain, Damir Doma and Isabel Marant is that even work uniforms must be beautiful and not depersonalising, and therefore inclusive , capable of not cutting anyone off.

Older Studio was among the protagonists of the FuoriSalone 2022 in Alcova where Letizia and Morten presented < strong>Furniform, a name that summarizes furniture anduniform: in practice, a game of furniture to wear born by observing road construction sites .

"We used cut and welded scaffolding as structures, and then we created trousers that can be worn or dismantled and transformed into deckchairs and benches.

It is a work in progress, we like to investigate the boundaries between furniture and fashion, for us the uniform is design in motion. The idea of uniforms - they explain - was born to solve an aesthetic and functional problem in the world of work and hospitality. However, we wanted to create garments that you can wear to work and are happy to keep even after the end of the shift.

The uniform, especially in restaurants or hotels, is somewhat frowned upon by employees because no one wants to wear something imposed; so if there is particular attention or care behind what you wear to work, you also feel a little more valued."

Sara Ricciardi and the jeweled Sherazade

Physicality has always been at the center of Sara Ricciardi's work: for her performances and her workshops in which the body and proxemics are at the same time the object of investigation and social activator.

Among the designer's latest projects there is one, multidisciplinary, which led her to reinterpret the figure of Sherazade. The project revolves around the Grand Tour Sentimentale by Elisa Casseri: the writer's journey into contemporary human relations was the starting point for the curator of the show and founder of Spazio Giallo in Rome, Carolina Levi, to think with Ricciardi about a special 'jeweling', as the designer defines it, of the body of the actress Sara Pantaleo >, with high fashion embroidery created by Pino Grasso's atelier in Milan "I have long wanted to bejewel spaces and bodies. Both are places of storytelling.

Material surfaces and content at the same time. A flowering ball, a garden of enchantment in embroidery and sequins, sends back a luminous refraction that decorates the space with a precious and dreamy aesthetic. A hypnotic, slow, precious movement. Our Sherazade, then, with her Tiara of hearts, the bib of bees and sequins and the flower earrings with drooping pistils is shiny.

It is itself a jewel under the light, reflective, magical, capable of leading us to drift into dreams. They are objects conceived as amulets for the body. After all, embroidery is therapeutic and expressive, it allows for an important meditative activity, it is attentive care and it is a social structure".