The traces coming from the past are neither inert and petrified relics, nor simple objects to confine to a museum. They rather need to be read as sort of sparks able to set alight the fuse of the explosive material placed in what has already been (das Gewesene). Sparks able to build constellations rich with future in which past meets present (W. Benjamin).
In this lucky encounter what was once buried and embalmed, resurfaces. It reappears, flashing and sudden, making itself available for new meanings. Memory, in fact, is not a passive recording of history. It is rather an interpretative and poetic act that, through a fresh illumination of the past, prefigures new definitions of sense.
The men’s autumn/winter collection moves inside this field of poetic reactivation. A field that destroys and liberates at the same time. On one hand, it eradicates the idea of a past considered as something inexorably finished and irreversible. On the other hand, it sets the past free, giving it back unexpressed possibilities.
In this operation the clothes become an assemblage of fragments emerging from a temporal elsewhere: resurfacing epiphanies, entangled and unexpected; fluid layers of the past, disorderly anchored to the present (G. Deleuze); survivals transfigured inside a renewed aesthetics.
These fragments play with each other: they fade away in overlay, they detach from their original meaning to take on new interpretations, they reassemble through associations that free themselves from pure logical connection. It’s an anarchic game breathing freedom, fun, emancipation. A game that encourages an escape from the established confine of tradition.
In this frame the impulse to destruction is even, and above all, a creative impulse (M. Bakunin). Through mechanisms of denial, distortion, reversal, resignification of the past, the collection offers fresh emotional palimpsests exceeding sense and desire. An excess of sense, impossible to reabsorb, and constantly open to interpretation and possibility.