In yesterday's post we focused on yarns to create eco-friendly fur pieces, so let's start this feature with the same theme, and briefly look at Zegna Baruffa/Chiavazza's Autumn/Winter 2015-16 collection. The latter features three yarns, Mousse, Orsetto and Teddy, inspired by fur but created keeping in mind lightness.
For the next Winter season the company has been experimenting a bit along these lines, coming up with lightweight yet bulky yarns such as Thyme (93% Fine Merino Wool and 7% Polyamide), a chain like yarn produced employing Air-Spun technology conceived and patented by Zegna Baruffa.
Further technological experimentations inspired Sailor (60% Fine Wool and 40% Polyamide), a worsted yarn suitable for casual knitwear, and the chunkier Supersailor, ideal for jackets and coats.
The newest product of the collection is Cashwool Paint, a yarn with a trichromatic and three-dimensional effect.
Zegna Baruffa's colour range for the next Winter season is inspired by art, but also by modern social issues and features soft colours contaminated by greys and shadowy nuances or by light and golden hues, and cold tones with just a touch of warmer elements.
Known for the broad range of woollen spurn yarns, Chiavazza worked around the theme of country-chic knits for the next Winter with yarns such as Azhar, Daphne and Hedera, but also looked at elegance with Begonia (80% Superfine Wool and 20% Silk) a fine woollen spun yarn with a silk finishing, and at extreme softness with the newest Cashmore Soft, made with the finest cashmere yarn available.
As usual Chiavazza's collection also includes yanrs such as Supergeelong and Must Supergeelong ideal for embossed, three-dimensional or geometrical elements, another sub-theme of the Zegna Baruffa/Chiavazza collections.
Apart from being used as showroom for the new yarn collection, the company's stand at Pitti Filati 75 also featured samples created by three young designers. Diana Lee was inspired by the soft movement and graceful colours of clouds.
This theme allowed her to create fluffy and voluminous dresses made with extraordinary chunky yarns with some transparent elements in between that she employed to reproduce the consistency of clouds.
Hae In Yang moved instead from impressionist paintings by Monet: rather than focusing on the themes or the colours of the actual works, the designer looked at the constant changes that the landscapes in Monet's paintings go through.
Concentrating on the process Monet followed while making his paintings, Hae In Yang took into consideration the light and season changes in the environment, mainly working on three precise themes, mirrored pastels, water reflections and sheer laying, elements that he hinted at using a sort of iridescent yarn.
Yu-Chen Chiu transformed instead a traditional Chinese symbol into the knitted patterns and decorative geometric motifs for two dresses.
Rusty and burnt orange and aqua tones suggested in his pieces the passing of time and the transmission of ancient wisdom.
The lurex elements contributed instead to give a sort of contrast and provided a vivid texture with luminous feel to the ensembles, pointing towards other themes and issues such as nostalgia and the beauty and decay dichotomy.
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