KITON FASHION AND ART: THE ITALIANS? THEY ARE INVENTORS!
Post written by: Ilaria D'AdamioWearing KITON means wearing an identity, it is elegance made up of ancient sartorial art, attention to details and identification of valuable materials.
The company, today known throughout the world, is the result of the work of Ciro Paone, founder and now chairman of the brand, which has always celebrated the value of Italianity.
Mr. Paone, who is here at Pitti Uomo n.81 for the presentation of the Fall/Winter collection, following everything with great attention.
Our interview with Mr. Paone’s grandson, Antonio De Matteis – Kiton managing director – on the relationship between Kiton and art has just begun.
Soon we find out that there is a KITON rule: “Each year the members give the company a present: a work of art. So the company has been investing in art for 50 years”.
A rich collection, which comprises works ranging from Neapolitan sixteenth century to pieces of modern art, including works of so-called minor arts, such as antique furniture and ceramics.
We would like to recall the recent contribution of Kiton to the realization of the exhibition dedicated to Mimmo Paladino at the Palazzo Reale in Milan: 5 unpublished works of the artist were borrowed from the Kiton private collection.
At Kiton’s, therefore, art fits perfectly with art.
De Matteis explains that Kiton is inspired by the beauty, from which it draws inspiration to make “beautiful things”, “well-made”, always with “simplicity”.
Simplicity, is this the feature that makes the difference in creating elegance?
From what does the unmistakable elegance of Kiton get the idea?
“From art, which is a source of inspiration, but everything has to be a source of inspiration. When I say this I mean we have the good fortune of coming from a city, Naples, which is wonderful; a tough town but one of the most beautiful in the world. A city which is inspiring for the colours, the light, the ways of living, even if we are able to destroy it.”
What are the artists who can best describe this character?
“The Neapolitan sixteenth century tells us that Naples is a city full of an amazing history.””Arts and crafts” run somewhat parallel to the evolution of art. We ask Kiton if he agrees.
“A tailor is definitely an artist, simply because he puts something personal in what he does. Just think that the company has 350 tailors. I invite visitors to see the tailor’s shop at 5 pm when they go home. You will see a parade of tailors, dressed differently from each other, because each one sews his jacket. There is not a fixed standard. Everyone has his jacket with different characteristics.”
The jacket in Kiton becomes a symbol of craftsmanship, in which everyone puts his know-how, skill and dexterity.
“Why do we say that Kiton is art? Because each piece is unique, still cut with scissors, sewn by hand. This means that each creation is unique. This can depend on a fabric, on the system of work, if the tailor is left-handed or right-handed. A tailor is not a machine”, he adds.
So the creation of haute couture is the result of all these personal accents that are in correspondence with the value of the person who creates it.
“Surely, this is an asset. The richness of a heritage made up of art, handicrafts and tailoring which is a value of the “Italian” know-how. The great Italian problem is knowing how to enhance it. When we have a try, we are stuck.”
Suppose that the block results from bureaucracy, from the laws that cancel each other, helping to stifle the creative instinct of a nation, like the Italian one, so rich in culture in the broadest sense and in the ability to create.
“We are not French, where every little thing of their heritage is valued. Or just think of Dubai, an example of everything that you can do, but from the desert! When I travel abroad for work I bring with me the pride of being Neapolitan, then I get home and see that we could live on a private income thanks to the climate, the beauty and the history.”
In Italy there are perhaps too many constraints that do not help the necessary works of conservation and restoration. The hope is that with the passing of years the Italians begin to recognize the value of what surrounds us.
“A while ago we spoke about the cruciality of an environment inclined to the beauty, in the aesthetic sense. We are now at the Pitti event and know that the theme of this edition is the Street, as a space from which to get stimuli, unconscious inputs to enrich our person.
Do you think that what you managed to create in Kiton could be also created outside?”
“Street is usually synonymous with sloppy, fake poor, but for us it should mean something clean, tidy. People should be re-educated to respect what has value. Fashion and art have a duty to re-educate to the beauty.”
We might think that this means eliminating fake hypocrisy, dictated by ephemeral fashion trends, to finally return to the beauty in itself. “In fashion?” We ask.
“I don’t like to buy the “disposable” item of clothing because it is cheap. I consider this a bad education. There has to be the nice and affordable item, suitable for every opportunity to purchase.”
Does it mean focusing on quality, then?
“Why buying a work of art? Because it gives me pleasure, I like it. Sure I don’t buy it to keep it two days and then throw it away. The same is for a piece of clothing.”
We agree with Mr De Matteis when he invokes the need to re-educate to the beauty, with his claim that the press has an important role in doing more constructive criticism, instead of denigrating too carelessly.
We welcome, therefore, his invitation to participate in his mission.
Kiton with De Matteis represent an example of know-how of our country, which has always been able to generate “excellent things”. Who knows if this period of crisis will accelerate the birth of new creations, personalities and above all a renewed awareness of the basic values?
De Matteis greets us optimistic: “Let us remember that people abroad often know “how to do things right”, but that we know how to “invent” them!”
Published on Artitude il 16/01/2012
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