MAGAZINE October 13th, 2022



«The art of making a difference, aesthetic and functional, through tech innovation has always been in Dyloan’s DNA, since its inception in 1987. Thanks to the research and development of new ideas, applications, customizable technological solutions, over time the company from Chieti founded by Loreto Di Rienzo with his sister Anna Maria has grown more and more, working with the most famous brands and refining, in times when very little is said about it, a particular sensitivity to the theme of sustainability. Technology can help us produce better and more efficiently. An intuition and a mission that culminated in 2020 with the birth of D-House, an experimental urban laboratory dedicated not only to innovation in the field of production but also to the comparison in terms of responsibility and the creation of new partnerships. At this edition of WSM, D-house presents two disruptive innovations. On the one hand, the project of programming a robotic arm for the customization of clothing and accessories with painting on demand (for a series reproductions in a responsible way) and on the other hand the fascinating laser effects on the capsule collection in EPHEA, biomaterial of fungal derivation».

Di Rienzo, how do you describe your company?

«Curious, innovative, sensitive to changes and brand needs. We, in the fashion business, represent the manufacturing part, where for  "manufacturing part" we mean that know-how of intercepting technologies and bringing them back to the creative context of fashion allows us to get both from the aesthetic and functional point of view, garments with completely new features».

What does the term of “sustainability” meanfor you?

«We set it as a long-term goal 15 years ago. And our model expresses at first from the social point of view, in the way of doing business with people and in the approach towards the territory. Working with the new technologies, we have become attractive to young people and through their interpretation we have obtained particular results that have made us a bit of a reference for the industry in search of new solutions. Therefore, when fashion opened up to this topic, we were a bit favoured, because we knew what we were talking about - the use of materials, the technologies, the processing and the processing of waste - and this also gave us a certain competitive advantage. Now that we have entered into a group, it all started a deepening work linked to innovations and development methodologies for increasingly responsible products, from the creation to the digitalization to prototyping to production, and we work to ensure that each of these phases is as responsible as possible, aiming at sustainability. Saying that we are sustainable is in fact too ambitious, I prefer to say that we "tend to sustainability" and that we try to do better and better at every stage of the process, that we govern practically everything. Since fashion has been open to this theme for a short time, it is unthinkable that industrial technologies and systems can adapt quickly to the needs of the market of the future».

There’s in fact a bit of naivety when it talks to sustainability, some people think they can change overnight.  

«Voluntarily or involuntarily, when speaking about sustainability you risk of falling into greenwashing because there are a thousand topics on which you can be attacked. In 15 years we may have sustainable products, but for now we can only strive for sustainability and, before we can achieve truly responsible production, we need to radically change our approach to design. Today, designers do not have a sustainable design culture that takes into account all factors, from materials to the supply chain at the end of the product’s life. How will my product be able to be transformed or disposed of, passing from a type of distribution where progress will no longer be “I produce therefore I sell” but “project, I materialize/virtualize, I sell and produce”? It’s a bit like when you buy a car, you see it and then you buy it. Well, I imagine the store as the place where this is going to happen».

To this day, having to deal with all the steps in the supply chain, what is the biggest barrier to overcome?

«The beginning and the end. Who designs and the final consumer. Let’s say that in the supply chain there is a high degree of sustainability, you can already make sustainable products, but the point is that those who design must have a culture that they still lack, as does even the final consumer, who at the moment is targeted by many messages, even wrong ones, about what sustainability is. And so the supply chain itself can also even be tracked, for example we are within a blockchain project and we can certify all the product stages. We need designers who have more awareness and consumers willing to accept a compromise: I will not immediately buy what I see in the window, because this implies a system where the product is produced before having been sold, which pushes to over-production and inefficiency with a high environmental impact».

What goals are you proud of and with what vision do you look to the future?

«In the fashion world we can say that we were the first to use some technologies that then became a standard, such as heat-sealing or 3D prints. And - demonstrating a certain sensitivity in terms of sustainability even in unsusoected times - we have always built system, working in synergy with many stakeholders. These elements have certainly helped us to do well but today we need an even broader systemic vision, where the time invested and the knowledge achieved work so that the Italian manufacturing system, so fragmented, finds a new unity. In order to develop technological skills in terms of new services, as well as products. We strongly believe that the future will be on demand. We also work with D-house, our urban research laboratory that experiments technological possibilities for a more sustainable manufacturing, from the idea to the certified and customizable, traceble product. At WSM we have an evolutionary project of high-tech manufacturing».








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