”Passion in everything.Gabriele d'AnnunzioIl Vittoriale degli Italiani
I desire even the smallest things as ardently as the greatest ones.
I never have respite.
Clothing the body in order to recount the role of the imagination as a bridge between man and reality. Covering, so as to reveal the sapidity of the vivifying feat of the senses which Gabriele d’Annunzio traced throughout his lifetime.
These are themes which tie in well with the production history of the Calzificio DèPio, established in 1947 in Botticino (BS) by Pio Chiaruttini and reaching through to the present day via a combination of eclectic and creative visions of the sock in history at an international level, as an expressive means of the stylistic identity of the so- called “lower limbs”.
Possessing the map of its emotional route is the glory of the glance of that which is immanent projecting us into an oneiric dimension. It is through this map that man experiences the true size of beauty.
Every part of the anatomy stands out in the nature of d’Annunzio’s dandiness and everything takes on a central role because nothing is by chance, not even chance itself.
The approach to emotion belongs to the bard but also those of craftsmanship like DèPio which adds to the foot and its surrounds the magic of knits of the most precious kindtogether with graphic and volumetric formulae at the very limit of the boubaries of possibility.
Feet, legs, fingers…. all of these shine in the ensconced in the light of desire and passion and become the protagonist. This is why also the sock takes on a leading role as a second skin and declares: poetic revelation, declamation.
The power of lyric plots with an epidermic adherence to the will to “live your life as one would with a work of art”.
Image is paramount and that which is “light”, as with that which is great all have a role.This detail is such only from a terminological point of view because of its great importance.
The practice of adorning sculpted bodies with drapes of precious silk is but one of the authorial aspects of d’Annunzio inasmuch as every single part of his home (The Victorial) was scenographically and coreographically managed within the space and rhythm of the poet.
The servant’s attire (made by Poiret), such as that of his lovers (the more elaborate ones made by the Maison Paul Andrèe Lèonard of Milan) were designed by him personally and created in coordination with the emotion of the role to be played together with practical functionality.
Transparency and oblivion created a dialogue between the parts of the body in the shadow and those in the light, all reflecting the identity of the author:
“Gabriel Nuntius vestiarius fecit”
Such is the benchmark of the contemporary face of the Calzificio DèPio project with the Vittoriale degli Italiani and their very own Bard.
The intimate, revealed as semantics flowing from the fluidity of its beautiful grammar, takes the shape of onomatopoeia generated by the intrinsic poetic revelation between art and the arts as actors coveted by man’s desire with d’Annunzio as director and main actor in this scene, inspirer and protagonist, yesterday like today.
The paces in “Pleasure” of a neo Sperelli (his alter ego) count the infinite return to this beautifying fruition looked for in every detail and clothe their manifestations in their close attention to sensations, in an ever rising discovery of the body deified by art and its various traces.