MAGAZINE October 13th, 2022


Specialized in the realization of finishes and special effects for cloths in the fashion industry, BlueItaly is the Abruzzan company founded in 2013by Cinzia Di Zio. Un axcellence in the Italian supply chain that shws how craftmanship can and must become a competitive creative industry. 

Cinzia, how did you start and how?

«I can say I was born in this sector because my father, who was a mechanical engineer, sold and transformed tech machinery for the fashion industry. I must have been around 6 and every Saturday afternoon I accompanied him in the workshop: it’s in that environment that the machinery of the textile industry have become familiar to me. I remember their sounds, their smells, the image in perspective. I watched the from below, losing myself in the big baskets of the leftovers of the cloths dad uses to test. I dug among the leftovers and I selected some, those which were the most beautiful for me: little by little I chose the most precious ones and I built myself a little archive treasure. When long afterwards, in the 90s, with delocalization of productions my father has decided to close business and I, who after finishing my commercial studies helped him with accounting without many satisfactions, I ended up working in a small embroidery centre. Once I got in administration, I didn’t resist at the first occasion, and a tried to have a say on the product, for which I have always had an innate emotional transport. Managing the clients and finding creative solutions for their requests came natural to me. The company understood this and so I entered the style office. I stayed 15 years in this company. After that, for my 40th birthday, I resigned. I am the daughter of entrepreneurs and I felt like i wanted to open my own company».

This is how BlueItaly was born, a company specialized in embroidery, incisions and laser cuts, three-dimensionals effects, inlays and heat-sealing. To put I plainly: know-how meeting innovation. 

«In 2013, I started out with 300 euros and I registered my trade mark. Right after that I asked for a loan of 5 thousand euros, but since I was afraid I didn’t have enough credibility at the bank as a now 40-somenting entrepreneur, I declared that I needed the money for my kitchen. The first traces with the first machining tests… well. We made them giving value to the cloths from my father’s company which I had been collecting with through the years with with care. After all, I didnì’t have any resources, initially, to buy new cloths. Now I can proudly say that everything comes back and that determination and heart repay. Whit forty employees and two owned factories, we work for all the best brands in fashion». 

Is always wanting to do better, improving themselves, for a company such as yours, an incentive for embracing sustainability? 

«Surely. Wanting to do better is inherent in our soul. Sometimes this impulse can be dimmed by culture, by society, by mental attitude, but we were born to always do better, this is what sets us apart as human beings».

Is it your clients who request sustainability or is it you, depositarues od technological innovation, who suggest it?

«It depends, for the past year it’s been the clients who asked for it. But they don’t want a kind of sustainability that flattens the product, they demand creativity. Here’s the point: sustainability requests even more creativity. I was talking about this today with a client whith whom I compared a recycled fabric with a new one: the new one stands on its own. It has all the organoleptic features that make it attractive in and of itself, while the recycled one starts at a disadvantage: us creatives have to reinvent ourselves and add value to this lacking because otherwise there’s too much difference between the two products. No one will ever buy a recycled fabric which, to sight and touch, is less valuable of a quality fabric, so we must find solutions to make it more attractive».

Does sustainability cost more?

«Of course. And I am convinced that it has to be confronted not only on the creative front, but also on the designing and economic one. We have to reevaluate consumerism, and the benefit. Us producers are forced to produce a great quantity of goods simply because we have given value to quantity and not to quality and service. Therefore, to be economically sustainable we are forced to make the numbers. If instead we give back value to time, cure and quality, selling half of the pieces at double the price, and inviting the final clients to keep for double the amount of time the garments, it is clear that but the companies and the environment gain from it. The emergence of a new sustainable era can only happen with an economic revolution».

What have you presented at WSM?

«We have worked on the theme of the colours white. I wanted to give myself a limit to show how in the range of a single colour, creativity can give its best. I tried to focus on the monomaterial, in order to help the disposal of the fabric at the end of its life; and on the essentiality of design,a  concept that for me unites quality, cure and sustainability because if you make a beautiful thing, carefully, you’ll invite the final consumer to want to keep it for long ».  

What is your idea of sustainability? 

«A well-balanced in accordance with the principles of the Blue Economy, for a holistic vision which embraces a sustainabke growth. Indeed, there needs to be a balance between the productive processes and sustainability, the use of resources and their rigeneration, because being drastic does not lead to anye result ». 

Do you have any sustainable process that you consider to be your flagship? 

«Definiteky out Thermovolume. It is more sustainable compared to other techniques because we manage to realize 3D effects without using plastic materials but only glue, sponges and GOTS certified machinery». 



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