URANIA NOT ORIGINAL

IS A FASHION PROJECT THAT QUESTIONS THE PRINCIPLES OF AUTHORSHIP AND NEW.
IT'S COLLABORATIVE WITH THE AMBITION TO BECOME A COMMUNITARIAN.
IT'S A SERIES OF LIMITED EDITIONS.
IT'S THE ARCHIVE, WHICH DOES NOT END UP IN THE MUSEUM'S DISPLAY CASES, AS A DESIGN TOOL AND A PLACE FOR THEORETICAL REFLECTION.
IT'S MENARD'S QUIXOTE – IT QUESTIONS US ABOUT THE MEANING OF THE OBJECT IN RELATION TO TIME.
IT'S A SIGN THAT IT CHANGES MEANING IN RELATION TO THE BODIES THAT DRESS IT AND THE CONTEXT/SPECTATOR.
IT'S READY-MADE.
IT'S ECO-FRIENDLY – AND IT'S NEITHER RECYCLING/DOWN-CYCLING.
IT DOES NOT INCREASE THE VALUE OF THE GARMENT IN AESTHETIC TERMS WITH THE RHETORIC OF UPCYCLING, BUT IT RESTORES THE ORIGINAL VALUE OF THE OBJECT.
IT'S POLITICAL.
IT'S OUT OF THE FASHION INDUSTRY.
IT'S A RESEARCH INTO NEW WAYS OF DESIGNING.
IT'S CHEAP AND EXCLUSIVE.
IT'S ONE OF A KIND.
IT'S ORIGINAL.
IT'S READY-TO-WEAR.
IT'S HACKING.
IT'S A DECLARATION OF LOVE FOR THE ORIGINAL.
IT'S A REFLECTION BETWEEN TRUE AND FAKE.
IT'S SEE NOW AND BUY NOW.
IT'S TO SEE CLOTHES FROM ANOTHER POINT OF VIEW AS THE WEBLER'S STATEMENT TAKEN UP BY GOLDSMITH TAKES ON A NEW MEANING.
IT'S AN UNIVERSAL WARDROBE.
IT'S A COLLECTIVE MEMORY.
IT'S A SHORT CIRCUIT OF A COMPROMISED SYSTEM.
IT'S A FAVARETTO CORE OF THE STRATIFIED HISTORY OF FASHION AND COSTUME, PRESERVED AND WHICH BECOMES A MESSAGE FOR THE NEAR FUTURE.
IT'S A PRINTED ROCK BY TREVISANI.
IT'S OF KNOWN AND UNKNOWN ORIGIN.
IT'S FABIO QUARANTA, RAF SIMONS AND COMME DES GARÇONS AS ARE CARACENI AND LITRICO.
IT'S MADE EVERYWHERE.
IT ALREADY EXIST.
IT DOES NOT PRODUCE ANY NEW GARMENTS.