Fashion and innovation: the timeless vision of Nanni Strada

In 1973, she designed “Il Manto e la Pelle” (The Coat and the Skin) for Calza Bloch, a groundbreaking system of garments created using automated processes and zero production waste. This included one-piece fabric coats and the world’s first garment produced entirely without stitching. The project received the Compasso d’Oro ADI award in 1979.

In 1986, Strada introduced Torchon—compressible, crumpled travel garments that influenced leading figures in conceptual design.

Her work was exhibited in the most prestigious international institutions in Europe, the United States, Russia, China and Japan. In Italy, she has been featured multiple times at the ADI Design Museum and the Milan Triennale.

In 2003, the Triennale held a monographic exhibition titled Abitare l’abito in her honour, and in 2014, it acquired a selection of historical garments from the Nanni Strada Archive for its permanent collection.

«I was quite sociable as the only child among adults in a large, loving family. Activity was always the driving force for me – never still except when I was drawing. I was outgoing and found it easy to converse with adults, and enjoyed being in their company. I often thought that if I didn’t pursue my current career, I would like to run a hotel—to work with and for people».

«I liked large classes. I taught using principles akin to those in sports: I formed groups that engaged in positive competition, rewarding their achievements. Perhaps the only thing missing from my otherwise beautiful and fortunate life was playing a sport».

«I always drew. When I had to tell my parents what I wanted to do, I had no doubts. The main challenge was readjusting to the Italian education system after attending Argentinian schools between ages six to 14, and then re-entering the Italian school system in the early 1960s. It was a traumatic experience for me, as I had to adjust from a vast country with a broad perspective to Italy, where everything felt small and outdated».

«It came about through Max Tilke’s books – the ethnologist who studied oriental clothing, which I found through a friend of mine, Cathy Berberian, a modern music singer. She wore these simple oriental dresses and had Tilke’s books. It was an epiphany, I said to myself “this is it, this is tailoring!” I disliked tailoring, not as a creative pursuit—since French tailors were exceptional artists—but rather the notion of tailoring to a “standard” body with standard measurements: circumferences, chest, waist, hips, and basic model».

«I wouldn’t describe it as comfort, but rather as freedom. Freedom, because the garments are open and lack fixed points of attachment, allowing the dress to drape with a natural elegance.

For me, the inventor of tights deserved a Nobel Prize. Before their introduction, women had to deal with garters and uncomfortable stockings, so having garments that are easy to wear, elastic, and comfortable made a world of difference».

«I came to appreciate the importance of the process through factory visits. When prototypes were manufactured, I went there to see how they operated, how things were assembled and sewn, because that’s when you can change things. I wanted to be there, to witness the process, and because the factory was a highly recognisable place. Back then, there was a strong sense of class consciousness and political awareness among the workers, who recognised the value of their labour. Today, we are more individualistic, isolated and disconnected, relying on new technologies that, while useful, also pose risks. We’ve experienced a significant loss of manual skills—of doing things by hand, writing, or drawing. Gradually, we are losing our humanity».

«This phenomenon is known as consumerism.  It is the greatest threat to humanity because it erodes our essence. Even in my own fashion work, we were not driven by consumerism. Marketing has pushed consumerism to its extreme, coining the term “luxury,” which I find rather vulgar».

«There had been similar techniques, but not with the same intention or approach. For example, Fortuny pleated clothes, and so did ancient Greeks. But in this case, it’s the process itself that brings about change. It is within the process that you make decisions—sometimes mistakes—that lead to something extraordinary».

«Absolutely. It was a wonderful time, full of invention, experimentation, and boundless creativity. It was thrilling and exciting. There were challenges, of course. I remember when electronics were not yet available. Photographer Alfa Castaldi would request fruit arrangements for cocktails, but without electronic flashes, only lamps were used. By the time the fruit was arranged, it was often spoiled, requiring a complete redo.” It was a more analogue world, but it was more engaging and adventurous».