In the West, we use numbers to represent things, mathematical and geometric—even to symbolize space, order, movement or tension, but numbers hardly express other conditions of what is vital and human.
Working, intervening in the exterior of an object-space, geometrically perfect, prompted me to play freely with leather, seeking to redefine the notion of proportional perfection, to transform it into something living. hoping that the subject comes alive.
The pursuit of balance has always been a goal of human societies and of geometry; the golden number and golden ratio have served to provide objects and representations of aesthetic balance and harmonic reason. As i see it, this cultural awareness of harmony helps us make sense of the natural chaos that surrounds us and is part of us, like the reflection of a greater, boundless universe.
Speaking, thinking in these terms, I do think not in proportions and measurements. not in an aesthetic geometric balance, but in the priceless movement of things rather than a harmonic place or point in the distance, the space of transition that exists in two places or points in balance, its vibration.
Following the Fibonacci sequence, nature uses successions that are dimensionally proportional to the golden ratio, and that in a similar manner affect us too—our own structure, even our genetics.
Accordingly, we are all made roughly equal in terms of our internal structure, on the inside, but in reality each and every one of us is and operates emotionally, outwardly, in a unique manner—we are different.
If we carefully study the cephalopod mollusk, nautilus, whose shell is a reference for studies of the golden ratio, we note that it is not quite perfect—moreover, its exterior has nothing to do with its interior, and it is apparent that every specimen is unique in itself. every shell—here iʼll use the word skin—has its own drawing, color, touch and scar, thus distinguishing itself.
Given the perfect identity of a ONESIXONE bag, I felt the need to signify its skin as being the reflection of a vital, destabilizing experience. in search of a singular energy, in sync with its organic component, leather—expressive hallmarks of vital stimuli and turns, like storms that move and breathe life. An expression of the unexpected, provo- king the bag to breathe through the skin and come to life.
As a painter, working with natural leather, an unfamiliar material to me, has allowed me to see and feel with different eyes, to discover something very different but also very near. To rub, punch, show sensitivity—in short, to experiment with the notion of stable imbalance and the possibilities that emerge from an encounter with the unexpec- ted. everything has a reason, and perhaps that is also why it is always so different.
ONESIXONE shows how comes alive the language of the artist. The creative process of each artist is the main character of each collection: the exploration that occurs beforehand, the development of the concept and the final work. This is the result that allows the artist, the leather craftsmen, the tanners and the designer to celebrate the creation of a collection. Each bag becomes a mirror of the artistʼs mind, his ideas, his experiences and how he understands the philosophy of the brand.
The artist chooses techniques, the materials, colors or shapes and decides whether these items are simply containers or if they contain themselves. Each collection, each bag has its own history, its own space. Exploration and inspiration, arts and crafts, wellness and individuality were the criteria and principles guiding ONESIXONE. The rigorous tradition of high quality craftsmanship and the transmission of emotions through hands.
“For me, the image of perfection is closer to an emotionally charged concept —a feeling, precise and necessary, but never to an idea that is fixed or formally predetermined”