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And so, the fashion that every 6 months proposes new trends, colors and fabrics, is constantly looking for inspiration from all fields. In the world of fashion and design there are more and more contaminations and influences, starting from product designers and architects who collaborate with established brands. Just think of the work of a few years ago by Zaha Hadid together with Lacoste, or the collaboration between Philippe Starck and Ballantyne, up to more recent projects, even with fast fashion brands, such as the collaboration of Uniqlo with the Eames foundation, which resulted in t-shirts printed with chairs designed by the couple Charles and Ray.
Lately the most interesting collaboration has been that of the Belgian designer Dries Noten, who for the spring summer 2019 presented an entire collection with fabrics and prints by Verner Panton.
The same designer described his collection as follows: "I wanted a collection that was fresh, about colour. So we contacted his foundation, and we used his prints, playing on proportions", each item in the collection with a print of Panton, will have a second label.
But Dries Van Noten is not the only brand to have collaborated with a design brand, Prada for example recently proposed a re-edition of one of the first Verpan inflatable pieces, a pouf designed in 1960. It is a clear example of the curiosity, research and modern approach of fashion designers.
The objects or clothes that enter museums and the design pieces that become icons of a period or a style, thus succeed in overcoming the intisic characteristics of fashion and death, overcoming the transience described by Leopardi. These objects become timeless and become part of our collective memory. In investing in a vintage piece, therefore, not only can we find a testimony of a certain period, with the uniqueness of its materials, colors and workmanship, but we can also be sure that we are focusing not only on a fashion, or a memory, but on immortality.
