Fashion As an Expression of Contemporary Material Culture

Comparing the historical sources preserved in the Bocconi Historical Archives allows us to shed light on Walter Albini's ability to interpret fashion as a form of expression of the material culture of the 20th century, characterized by the continuous search for synthesis in the tradeoff between functionality and aesthetics, elegance and informality, conformism and exclusivity. 

Among the numerous companies Albini collaborated with, there was Zamasport. Founded in 1966 as a spinoff of Maglificio Augusto Zanetti, a textile firm active since the beginning of the 20th century in the production of knitwear lingerie, Zamasport soon launched the Callaghan brand, a ready-to-wear line that Walter Albini designed from 1968 to 1972 and to which Gianni Versace would also later contribute. 

Zamasport-Callaghan Informative questionnaire. Archivio CNMI.

Callaghan, Prêt-à-porter, A/W 1978, Milan. Archivio CNMI.

Invitation for a photographer to the collection Gianni Versace per Callaghan, S/S 1978, Milan. Archivio CNMI.

Invitation for an interpreter to the collection Gianni Versace per Callaghan, S/S 1978, Milan. Archivio CNMI.

From a technical point of view, knitwear is not really a fabric because it does not have weft nor warp, but is obtained by knotting one or more textile threads. From an economic point of view, this non-woven material is a “poor” fabric because its manufacturing does not involve the cutting phase, generally the prerogative of the tailor. These characteristics made knotting a manufacturing technique that for a long time was mainly used in the manufacturing of undergarments and hosiery. 

Despite its humbler origins, knitwear nevertheless fueled a thriving industry, becoming part of the history of fashion in the 1920s, when Chanel used it to create women's outerwear characterized by easy wearability, soft lines and the use of components traditionally considered masculine, such as pockets and trousers. During his apprenticeship in Paris, Albini personally met Chanel and became fascinated by her. In those years, the fashion of the French couturière was in open contrast with the post-war course in haute couture inaugurated by Christian Dior's New Look, based on sumptuous luxury and the use of large quantities of precious materials and refined techniques for the creation of unique garments. Knitwear, therefore, constitutes a particularly interesting key to understanding Albini's professional career and his way of conceiving fashion.