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Eco-friendly fabrics for clothing

Ratti has always been careful not to disregard what, for their customers, are becoming the priorities in choosing a fabric, a service or more generally a brand. A new economy increasingly reliant on renewable energy and production processes that respect the environment. These are the new mantras of the modern consumer and they are the cornerstones of the Ratti Group with its offering of eco-friendly fabrics for clothing.

Ratti’s eco-friendly fabrics, while having a full feel to them, have a soft touch, tastefully respecting the tradition for a relaxed elegance in which every style rule is reshaped and reconciled with the composure that distinguishes the brand. Then the graphic lines together with the colours enhance the excellence of the brand’s research into these environmentally friendly fabrics and its obsessive pursuit of quality.

This family of eco-friendly fabrics, in addition to emphasising the new cutting-edge techniques being employed in the world of textiles, formulates new rules to bring to the fore new sustainable aspects of fashion within a pathway being pursued with great determination.

Eco-friendly fabrics for a sustainable choice

The choice adopted by Ratti with regard to eco-friendly fabrics derives primarily from the intention to continue to offer new and innovative fabrics balancing the need not to betray its own tradition with the need to satisfy new expectations in terms of sustainability. It is in this dichotomy that the meaning of the sustainable nature of the Ratti Group must be sought: a clear intention to offer the market an environmentally friendly product, a new hallmark of the brand.

The eco-friendly fabric offering

The prince of ecological fabrics is GOTS certified organic cotton, cultivated using methods and products that have a low environmental impact, without the use of pesticides or chemical fertilisers. A fabric intended for everyday use having a timeless charm, adopted and reinterpreted by the most famous fashion houses of the world.

Alongside cotton, we have to include linen for the warmer weather. Its properties have always led to it being considered a noble ecological fabric. Linen can be grown using just rainwater for irrigation and, when incorporated in a system of crop rotation, it contributes to the regeneration of the soil.

Another of its eco-friendly fabrics that Ratti recommends for the summer season is GOTS certified organic silk. In this case the mulberry bushes are grown without the use of harmful substances and the silkworms are not treated in any way with drugs or antibiotics. Ratti’s eco-friendly silk is, by its constitution, a material emblem of the brand, a fabric that feeds on the past to give life to new creations of the present.

To maintain customer confidence, Ratti has decided to produce new eco-friendly fabrics, continuing to ensure the quality and stylistic excellence of its products, and thus providing a guarantee of its responsibility as a brand.

Fabrics for haute couture

Haute couture has always bestowed dreams, trying to make the ephemeral concrete and to enhance feminine beauty through fabrics and clothes. Ratti could not but be part of this world, combining its talent in creating fabrics of rare beauty with a balancing of the shapes and the contours of the volumes, to create its own taste and style.

The haute couture fabrics of the Ratti Group combine imagination and craftsmanship, enveloping the female figure with each fold of cloth, while at the same time highlighting the symmetry of each movement. Ratti’s most exclusive collection is similar to a palette of voluptuous shades on which vibrant colours alternate with more ethereal and delicate pastel shades.

The approach taken by the Ratti style office to every fabric intended for the world of haute couture favours working in a methodical way, even though it is imagination and creativity that then dictate the pace of each variation.

The principal themes of fashion fabrics

These are the floral compositions, the main theme of Ratti’s haute couture fabrics. Each bouquet represents the favourite design, created and stylised in accordance with the trends and the taste of the moment, while at the same time bringing out all the curves of the future garment and the richness of haute couture.

Other patterns which are now widely used in the world of haute couture are the animaliers, revisited and adjusted in a myriad of interpretations. With the same energy as the animal-themed prints, in the Ratti luxury collection there is a place for fabrics with geometric motifs and their endless variations thanks to overlaps and interlocks that highlight the technical virtuosity of the style office.

3D fabrics and volumes

For the creation of haute couture clothes, Ratti offers devoré velvets, jacquards and fils coupés, silk duchesse, satins and chiffons.

When speaking of devoré it is always with reference to velvet. Devoré is a type of processing that, using the French term, “devours” the fabric. It is a textile printing system in which a part of the fabric itself is removed so that the base becomes transparent, thus enabling the display of a design that takes shape from the “non-devoured” fibres.

Ratti’s great tradition and experience is the basis on which the jacquards and fils coupés of the collections come to life, unique pieces of unparalleled beauty. Fabrics for haute couture tailoring thanks to the three-dimensionality of the bases on which are created micro and macro designs with their interplays of yarns and colours.

Satins, chiffons or the lightness of silk duchesse are all members of the great family of silks, fabrics intended for the creation of works of rare beauty that are only to be found in haute couture. A world of fabrics where masterpieces are composed with virtuosity and painstaking attention to detail, using crepes and chiffons to create a garment that is at the same time light and refined, without losing its volume and substance.

Last but not least the world of wool and cashmere, unique and of the highest quality, and which, thanks to the versatility of the fibres, lends itself to the creation of extremely sophisticated high-fashion clothes with an impeccable cut.

Ratti’s savoir faire is long-standing, and with its fabrics, intended for the world of haute couture, it is able to provide an infinite range of fabrics, creating refined plays of colours and materials that are always eye-catching.

Fabrics for suits, when the material takes shape

There is a discreet fascination associated with the brand Ratti, a reminder linked to the hypnotic effect of designs and colours expressed through infinite metres of fabric. A sophisticated journey composed of fabrics for suits regulated by a pure aesthetic that governs every cut and breathes life into it.

Ratti, through its own collections of fabrics for suits, has been able to embrace and transcend the rules of dress, creating new ones without however neglecting anything, either codes or heritage, instead laying the foundations of a new way of conceiving the world of textiles.

Fabrics with a thousand facets

The value of Ratti’s suit fabrics is first of all in the thought and attention given to dressing. Each collection represents the perfect synthesis of that ability to mix colours, patterns and designs harmoniously and, not least, to make this quest for harmony appear to be a natural exercise, an attitude that is part of its DNA.

The suit fabrics of the Ratti collections oscillate between reminiscences and re-appropriations in the sense that they are able to grasp the transversality of styles, thus escaping the clutches of those who would like to encapsulate them within a definition by establishing limits or boundaries. Each metre of fabric draws a personal map in the elegance of those who choose it and wear it.

It matters not if the Ratti fabric will give shape to a coat, to the lapels of a jacket or to the outline of a pair of trousers; what matters is that every cut is appropriate to the purpose, is made with the suit or jacket and trousers in mind in order to enhance still further the personality of the wearer.

Fabrics: the origin of a suit

In order to obtain the finished garment, everything starts with the choice of fabric. The work of creating a collection of suit fabrics comes first of all from research, an in-depth study to acquire knowledge and inspiration that have made Italian taste and fashion, from Fellini’s ‘dolce vita’ onwards, a point of reference among the elite brands from around the world.

Every metre of fabric is developed and designed by imagining the suit or jacket and trousers for everyday use whether in classic tones or an elegant print more appropriate to the afternoon or evening. It is the fabric that determines the style of the suit, which is why the design of the collection is the backbone of all creative work.

So for Ratti weaving is a real art: looms, the movements of the machine and the experience of the craftsman in interweaving, not only warp and weft, but ideas and talent, along infinite metres of fabric before it lands on the table of tailors and fashion houses, where from their perception of the cut and their desire to create a style, each fabric will find its own suit.

It is almost a ritual, pure magic, when the Ratti fabric is laid out and the shape of the suit is traced onto it. In that outline we can appreciate the ability and the experience of the couturier, and a recognisable style is traced out, whose details determine success.

Tailors and Ratti suit fabrics represent an unbreakable union consisting of material and gestures, lines and shapes definitively enshrining the osmosis between fashion and clothing. From this moment on, Ratti’s suit fabrics will follow the changes in the seasons, always there ready to be used, so that any jacket or trousers that result will never go out of fashion because their workmanship and the fabric will meet the challenge of time.

Fine fabrics, the culture of the handmade

Clothes have always been an expression of the desire to impress, to showcase oneself, one’s individuality and importance. Consequently, the fabric of which it is made must be fine, refined and, if possible, exclusive, all characteristics that are expressed in the excellence of the fabrics, in the variety of the colours and patterns, as well as in the line and in the craftsmanship, which must be of the highest order.

The fundamental element that distinguishes custom-made clothes from off-the-peg is undoubtedly the personalised paper pattern, created ad hoc by the tailor, and the fine fabric that is selected to give shape to the idea. This is an art practised by those who have perfectly mastered the craft in order to transfer the excellence of the fabric to the garment, recreating the charm of made-to-measure clothes.

Once a client experiences the world of the handmade, the fine fabrics gathered in bunches or on bolts, the needle, the thread and the skill of the hands of the tailor, they will find it hard to do without it. This is a world to which we remain faithful, a world that represents one of the last bastions in which the care for the fabric, the design and then the creation of the garment remain bound to the art of the tailor.

A fine fabric for each stylish suit

The suit remains par excellence the most refined clothing for a man, provided that the line, colour and fabric are right and appropriate for the occasion, the time of day, the season or the weather. When you decide on a suit, you must not make compromises: from the natural line that will show the figure in the best light, to the fine fabric, an essential element for obtaining an impeccable result.

From among the types of fine fabrics, Carnet recommends:


White lines on a blue background still remain a classic par excellence. Considered the fine fabric symbolic of the businessman, of finance and politics. For this reason the choice of this fabric can always be found in Carnet’s bunches and in the collections presented by fashion houses.


Also known as salt and pepper, this fine fabric is another classic for making suits in shades of grey or dark blue. More sober than a striped fabric, pinpoint is considered suitable for every occasion.

Solid colour

Solid coloured worsted fabrics are generally available in every shade of colour and are chosen based on the use that will be made of the suit. To avoid mistakes and to opt for a jacket/trousers suitable for year round use, it is preferable to choose medium weight fabric and preferably opt for dark colours in shades of grey.

Prince of Wales

The classic Glen Check is a checkered motif that originated in Scotland to identify membership of a clan by means of a design. Although considered a fine fabric, this type of fabric is not suitable for making a “business” suit but remains more appropriate for sportswear to be worn during leisure time. The fine fabrics offered in the collection by Carnet all clearly bear the ‘Made in Italy’ hallmark, a characteristic which at the same time encompasses romance, wise elegance and a sense of style typical of a brand like Carnet.

Certificate of Excellence for Creomoda

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

Paisley pattern, marks in movement

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.

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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 silk is an art, today just as yesterday” because materials, creativity and talent are the key to understanding this important milestone, giving it new lifeblood.

Art in factory

Ratti hosts “Iconostase”, the installation by Yona Friedman


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.


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 sees architecture 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.

Terme di Diocleziano, Rome

Fondazione Antonio Ratti, Como

Palazzo Te, Mantova

Ratti smoke-free workplace

Stop smoking on the company premises

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.