It's at the same time a garment and an object: the tracksuit is the symbol of experimentation between body, design and clothing

The suit represents a constant in the relationship between fashion and design, a sort of cultural universal that runs through the history of both disciplines.

Although it returns cyclically, this form of extreme uniform goes beyond the idea of a trend and becomes a classic so deposited in the imagination as to become an object of constant design and redesign.

In all its manifestations, overalls are closely linked to political and social issues, from workers' issues to war, from radical design to sustainability.

The suit, from Thayaht to Balla

It is no coincidence that his conception and his name are the fruit of the futurist intuition of the Florentine Thayaht who in 1919 conceives a new object, so new that it generates a new word never heard.

TuTa probably derives from the mangling of tout-de-même, but perhaps from the shape of this strange T-shaped dress which is to the suit what the T-shirt is to the shirt.

Simple, practical, hygienic, popular (even populist), it diligently puts into practice the dictates of the Manifesto of the Antineutral Dress written by Giacomo Balla in 1914 which suggested moving from civilian clothes to colorful uniforms full of energy.

The Dressing Design by Archizoom: getting dressed is easy

A few decades later, to the radical cry of "dressing is easy because elegance is dead", Lucia and Dario Bartolini of Archizoom propose their overalls, once again to be understood as a symbol of rebellion.

Dressing Design (1971-1973) looks to productive simplicity, to practicity, to a provocation that does not refuse a smile.

Their "dress against" underlines a typically anti-system attitude, which rejects the old canons of fashion but flirts with emerging ones, as demonstrated by the collaborations with Elio Fiorucci and Oliviero Tuscans.

The overalls between design and fashion: Nanni Strada

Speaking of design, Nanni Strada has also reinvented the suit on several occasions, combining industrial production with the essentiality of the traditional costumes of North Africa and the Far East (think of the competition for the National Dress Arabo-Islamic from 1974), arriving at the most extreme technical performance with the fireproof overalls for pilots by Abarth System from 1984.

The overalls today: the dress-object

Obviously fashion has cyclically confronted the theme, sometimes with technical clothes such as the ski suits by Prada and Chanel, others with which become evening dresses (like the overalls by Valentino and Raf Simons for Calvin Klein), or with unexpected hybridizations (for example the little black jumpsuit by Erdem).

Gentucca Bini did it too in 2015 with the project The charm of the uniform, ideal suits designed with and for a group of artists and intellectuals close to her.

The suit is par excellence the object-dress, the garment that does not take the shape of the body but gives it a silhouette that declares independence, freedom and non-conformism. For this reason, the suit can become a blue suit, a track suit, even a space suit, maintaining its identity as a research and innovative leader in each incarnation.

Her profound simplicity allows her to adapt to every ideal type of body and every concept, waiting for its next manifestation which - we can say with absolute certainty - will signal us a new change.