Modern because father and mother, history and necessity have oriented men to
think, to look for solutions and, to ﬁnd appropriate paradigms, and
The dream of modernism was, and is, noble. There was a profound link between
the changing society, emerging industry, and the forms that it was possible
to give to the necessary products. The spirit of Modernism lay in the knowledge
of the new, and in the resulting need to give it a face. This was done.
Then post-modernism arrived, with an ever-increasing proliferation of products
that enlarged into the paradox of the superﬂuous which, in turn, generated
commercial competition and the birth of the global market. One makes the mistaken
assumption of some logical equations: post-modernism = global market = no
ideal = only competition. Taking a closer look, I ﬁnd that a superﬂuous
product cannot possibly present itself in the market asserting values that
belong, and must belong, to the project. A non-existent project would confer
the non-existence of design. But what can we call those who produce current
objects dedicated to the global market? If we apostrophize the superﬂuous
product with the term ‘Rubbish’, we can perhaps call one who deﬁnes
it with the techniques of design a ‘Duffer’.
Perhaps the answer to a market that answers the needs of the consumer –
defenceless, possibly, but also without real need, apart from the psychological
- can be found in the fashion product.
Fashion! Here is the answer.
Since the word ‘design’, like the word ‘fashion’,
only forms part of the culture of rich countries, the objects of fashion and
design become luxury products, increasing the space of ‘desire’
– above all for those countries which reach the global market - and
can count as an area of acquisition. It is like showing off one’s good
memory by wearing an alarm clock around one’s neck.
Personally, I do not have solutions, nor do I have such strong personal theories.
I take refuge in the attempt to continue, deﬁne, realize ‘the
beautiful’, as has occurred in past times in other cultures, to other
individuals. The ‘beautiful’, as an attempt to ﬁnd common
ground with the foreigner, is the universal language that consists not of
words, but rather of sentiments. There, in that space of absolute equality,
we can dream together, what was once the dream of the modernist.
It should be said in passing that a product that ﬁnds its life in daily
use, in parataxis, should have neither magazines nor museums, but simply the
dignity of little things that, like a puff of smoke, leave behind a bit of
perfume, and then nothing.