Founded in Milano in 1966, IED is the only Higher Education Institution in the creative field to have maintained a completely Italian identity over time.
With a network consisting of 11 sites within 3 Countries (Italy, Spain and Brazil), every year IED launches innovative training projects in the fields of Design, Fashion, Visual Arts and Communication, to ensure that its students will be the future new interpreters of the universal language of design.
Therefore, IED assumes the identity of a research space, an open network, inclusive and active, able to teach and promote design culture for individuals and society, a place where the approach to Design becomes a vehicle for social, cultural and economic transformation.
On an imaginary journey from Milan to Cagliari, passing through Turin and Rome, we discover 7 projects by 7 Fashion Designers from different IED campuses.
Concepts focus on human structure, with the question of the proportions and the perfect relationship between individual and space (Giorgia Gervasoni, Human After All), or with an upheaval of the human structure itself, to let nature speak through a human being who is restored to full harmony with their surroundings (Cristian Rocco Rizzo, Biomorphic Disease); concepts talks about nullification of several features of the female figureas portrayed by the catholic culture and the Holy Scriptures (fé •minus di Carla Caria), or investigate its masculine opposite, the spreading of a strong “Toxic Masculinity” with the attempt to put an end to the rhetorical chauvinist celebration throughout a freedom where the obvious reference to military aesthetics evolves into only apparently rigid clothes (Military Coscientious by Giulia Balloi).
But concepts also go back to the personal and cultural roots of memory: this is the case of the collection of moments which look at themselves in interchangeable modules, those composing clothes by Elena Pistotti (FACETED – the new mythology), joined by hidden zips and snap buttons; or the case of study of traditional silhouettes from Mexico and Ecuador, deconstructed and reshaped into original frames, embellished with manipulations reinforcing the cultural references (Ñuka Shunku – ‘My Heart’ in lQuechua language – by Neithan Herbert Ruiz Pillajo). Showed concepts eventually give new legitimacy to mistake, with the endless chances hidden behind it (it’s the case of new life to toile given in Self on Canvas, by Nuria Piccirillo).