The Tunisian Ministry of Social Affairs, through the Inspectorate of Medicine and Safety at Work, has awarded Creomoda the Covid certificate of excellence, for its commitment to tackling this difficult situation, reaching the level of compliance in the management of Covid risk -19.
Right from the start, Creomoda scrupulously followed all the procedures required by the protocol not only within the production site but also in the organization of logistics and transport, adopting all the necessary measures to counter the spread of the virus.
The medical staff who work internally at Creomoda and who are part of the Inspectorate of Medicine and Safety at Work, after having examined the situation, drafted a positive report to the Control and Health Organization of the Tunisian Ministry which decided to assign this certification to the company
The boteh or paisley pattern – also referred to as Cachemire in Italian – is a seducing design with ancient origins that recalls exotic fantasies and remote countries. This drop with a curved extremity has been drawn and re-drawn in countless variations. Very few decorative motifs have left such a marked trace in the history of textiles and fashion, which are still cast under its magical spell today. The exhibition Paisley pattern, marks in movement, is organized by Fondazione Antonio Ratti (FAR) in partnership with Comune di Cernobbio. It will be held from June 18th to September 18th 2016 at Villa Sucota in Como and Villa Bernasconi in Cernobbio.
The paisley design is a contemporary classic, present in many historical archives of the textile manufacturers of Como. It has long provided various chances for textile operators – from designers to technicians – to display their outstanding skills, which are now recognized around the world as the soul of Como’s textile industry.
More than 150 exhibits – ranging from textiles to scarves, dresses, accessories and ties – will guide visitors across an itinerary that traces the evolution of this mythical pattern in different countries and historical periods.
In the renovated Ratti archive, textile
materials and digital innovation find a new space in which to co-exist on the
more than 750 square metres added to the previous facility.
Walking through the aisles and browsing
through the 600,000 fabrics, rather than leafing through the 15,000 volumes
ranging from paper patterns to precious photographic books arranged along the 6
double shelves that extend for 20 metres, is a way to explore the world of
fashion and design of the last 100 years.
In the renovated Ratti archive, traditional
and new materials intermingle, crossing boundaries and being used in
unexpected ways and, thanks to new technological advances, enabling designs to
acquire an allure and to offer increasingly high-performance solutions. Weft
and warp disappear leaving room for fabrics and prints that are the result of a
tradition and a wealth of experience that are only to be found in Ratti.
Thanks, then, to its complete digitisation,
two styles and ways of utilising of this space can be preceived: on the one
hand fabric as a finished product, the onging fruit of research,
experimentation and investment, and on the other hand, fabric as a living and
integral part with the world of fashion, design, architecture and art.
In 2020, Ratti, always
faithful to the corporate values that find their most excellent expression in
the union of heritage and innovation, as well as of craftsmanship and quality,
reaches the important milestone of seventy-five
years of activity.
Founded in 1945 by Antonio Ratti, the Group is still carrying out its production
activities today, working with passion to weave and print fabrics and accessories
appreciated for their style and creativity by the most prestigious fashion and
design houses in the world. The experience
and excellence achieved are the
result of day-to-day work that unites present and past in a hallmark of
continuity as well as in a way of being and thinking that have enabled Ratti to
span times and fashions to specialise, not only in the art of printing, but also in the understanding of fibres.
The 75 years of the Ratti
Group confirm how innovation drinks at the well of tradition, making the
message of its founder very much up-to-date: “To live silkis an art, today just as yesterday” because materials,
creativity and talent are the key to understanding this important milestone,
giving it new lifeblood.
Ratti hosts “Iconostase”, the installation by Yona Friedman
RATTI HOSTS THE INSTALLATION “ICONOSTASE” BY YONA FRIEDMAN, THE LEADING EXPONENT OF THE MOBILE ARCHITECTURE OF THE 1950S, EXPRESSION OF A FREE POSSIBILITY IN LIVING ART AND DESIGN.
Ratti is once again a spokesman for the values for the protection and enhancement of the historical and artistic heritage by hosting “lconostase”, an architecture, a mobile and modular museum located in its own park, between the office building and the factory, where it creates an ideal extension of the company architecture. The structure, an iconostasis formed by about 500 iron circles of 150 cm diameter each, all connected together, is an artistic and architectural work in progress. Composed by “improvisation” and applying Yona Friedman’s Space-Chain Techniques, it gives value to the concepts of autonomy, adaptability, sustainability, self-organization, self-planning.
Yona Friedman is one of the most important exponents of post-war radical architecture. He supports the principles of an architecture capable of understanding the continuous transformations of social mobility, based on “infrastructures” that provide housing and urban planning rules that can be created and recreated, depending on the needs of inhabitants and residents. His mindset on architecture and urban planning is always sensitive to developments that characterize the social, economic and environmental context. Yona Friedman prefers a form of mobile, sustainable and intercultural architecture that can adapt to the great changes of our contemporaneity.
Friedman actively participated in the cultural and utopian climate of the architecture of the 1960s, known as the “Age of the megastructure”, developing the idea of the Ville Spatiale. He has worked for the United Nations and UNESCO, through the dissemination of some self-construction manuals in African, South American and India countries. On the occasion of the designing of Lycée Bergson in Angers, France, completed in 1981, he published a procedure according to which the distribution and arrangement of all the architectural elements were designed and decided by future users. A large part of his work is developed through theoretical texts and drawings that summarize his thoughts to a wide audience.
He has participated in numerous international exhibitions such as the Venice Biennale and Documenta and his works are present in the collections of the most important international museums.
THE ARTWORK JOURNEY
Following the basic principles of the mobile museum, the rings are today in their sixth assembly. Before arriving in Guanzate, they constituted the structural elements of Architecture without Building, an exhibition curated by Lorenzo Benedetti held at the Dutch museum De Vleeshal; they then traveled to the Royal Academy of Fine Arts in Antwerp at the invitation of the students and of Nico Dockx, to become the Museum without Building. The structure has been exhibited for three years at the Antonio Ratti Foundation, where, following Friedman’s thought, it has been transformed into form and content according to the necessities, conversations and ideas of the people who, from time to time, took part in the project Yona Friedman Museum – Le Musée du Quotidien. Finally, the structure was exhibited in the exhibition Fabric as art. Antonio Ratti entrepreneur patron (October 1, 2017 – January 7, 2018, Palazzo Te, Mantua) and ARABESQUES. Antonio Ratti, fabric as art (March 14 – May 20, 2018, Rome, Museo Nazionale Romano). On these last two occasions, Friedman chose to combine iron wheels with a series of works printed on fabric by Ratti S.p.A. The drawings of the fabrics represented the theme of truth analyzed by Friedman in the course of his long career, which seesarchitecture mirrored in careful analyses of the contemporary society in continuous change.
In welcoming the work of Yona Friedmand into his own production reality, Ratti reaffirms his link with the art world, renewing, also thanks to the homonymous Foundation, those values that are part of the tradition and history of the company. The legacy of the group is indeed the result of a heritage consolidated over the years, driven by a significant push towards artisan excellence and originated from a complex of knowledge that, since 1945, have outlined a new creative model of style.
In Ratti, employee policies have always been one of the areas of greatest interest, giving birth to a whole series of projects and plans to promote, among other things, a lifestyle that can contrast, in the long term, the onset of chronic diseases with high social impact.
For this reason, starting from May 31st 2019, Ratti has choosen that smoking will no longer be allowed within the company premises and it will accompany all employees who request it with a series of training sessions organized by LILT (Italian Group for the Fight against Cancer) in which a doctor and a psychologist will explain the damage caused by smoking, providing, at the same time, advice on how to react to tobacco addiction.
Ratti has strongly wanted this project in order to promote a new culture of health, addressed to all its employees, with the primary aim of integrate this awareness not only within the company but also in everyday life. Contributing to reduce the number of smokers among employees, supporting them in their decision to stop smoking and offering them information on deterrent pathways (diagnostic or therapeutic), is done with the main purpose of providing a reference model for a healthy lifestyle.
This new initiative demonstrates how the Ratti policy is not limited to research and innovation on the product, but also on the profound enhancement of human relationships within the Group. The great attention paid to workers is dictated by the strong awareness that centuries-old craft traditions must be preserved and protected, precisely because the group considers the respect that Ratti has towards its masters and their creative art as a fundamental value.
Discover the five protagonist of the second edition.
The second edition of “Looking for designers” will end in March: the project, created by Marzotto Group and Ratti, aims to promote young talents in the field of textile and graphic design.
The selection of curricula and of portfolios sent by young candidates of different nationalities took place with the collaboration of Giulia Pivetta, journalist and teacher at the Domus Academy, coordinator and tutor to the realization of this project.
Five are the protagonists, very young designers selected
c/o RATTI S.p.A
Mateo Velasquez Largo (Colombia), Central Saint Martin’s, Londra-UK
Erika Riciniello (Italy), Accademia Costume e Moda, Roma-IT
c/o TESSUTI DI SONDRIO
Celestina Vinci (France), Central Saint Martin’s , Londra-UK
Abigail Eggett (England), Falmouth University , Falmouth-UK
c/o MARZOTTO TESSUTI
Heta Vajavaara (Finland), Aalto University School of Arts, Design and Architecture, Espo-Finlandia
If it is natural to think of clothes or of a design object as the reflection of the needs of people and of society, “Looking for Designers” aims at giving fabric the same value. The theme proposed to the students was nomadism: a very contemporary subject, a cultural factor and a necessity that needs to be faced. From this common starting point, the students developed an experimental collection composed of 5 different fabrics: printed fabrics, velvet, wool, linen.