You never forget your first visit, that’s for sure, 20 years ago, in 1997, I was still a student at the Antwerp Academy. I remember spectacular Florence and a fair overflowing with truly inspirational materials and colours.

Back then, not only could I never have imagined becoming the event’s Creative Director, I could not see any future for myself other than fashion designer.
After all this time, I can look back with great pride and renewed surprise upon my professional evolution. I can revel in the wonderful opportunity that is being able to make a contribution, each season, to an event that has always been, and is reconfirmed every six months as the industry’s most creative and high quality on a global level.


The first time I visited Pitti Filati I was studying for my degree in Fashion and Textile design in England. A trip had been organized with fellow students to visit various companies and fairs in France and Italy pertinent to our studies. Of course I already knew about Pitti Filati as the most important yarn fair world wide, so it was very exciting to be a visitor and immerge myself in all the wonderful yarns and colours that were on offer by such qualified yarn companies.  I always thought it would be an extremely rewarding job to work for the fair and have been fortunate enough to be working on the Research Area for the last 14 years which   means that I have the privilege of touching and seeing all the yarn types that are created following the trends that we propose, and  I then use them in the knitwear and swatches that are produced to illustrate our theme which gives fashion direction to the fairs’ visitors.

From where did the need for this concept emerge, based on “man’s” needs?


We are living in a time of great imbalance, and increasingly we are asking ourselves how this is possible, given the technical and conceptual resources we have at our fingertips. Reflection and critical, active thinking cannot be limited to philosophers, writers, artists and intellectuals. There is a need for a new education that transposes the philosophy of the human being into something practical and concrete in great symbiosis with nature, natural cycles, time and evolutionary ages of individual development. It's called Anthroposophy. Rudolf Steiner was a charismatic figure of great concreteness who succeeded, between the late 1800s and the early 1900s, in establishing a very clear path for contemporary man, a global vision that embraced architecture, nutrition, wellbeing, health, art, pedagogy and movement.

Do we need more concreteness? More rules?


In reference to eurhythmy, Steiner said that true art requires precise rules, because it has a precise, even curative function. We need more rules, certainly, rules protect us and provide a tool for growth.

But we must know how to formulate them before we can enforce them – we need more knowledge and awareness, only in this way can we increase understanding and the demand for quality.
Quality will be our only salvation. I also think we need to stop thinking of the spirit as an appendage of the brain, the spirit binds us to nature by offering extraordinary energy to create and live differently.

If you had to choose an iconic image which sums up The Human Edition, which would it be?


 It might seem a contradiction, but I would choose a piece of architecture in reinforced concrete: the Goetheanum, a monumental building designed by Steiner, inaugurated in 1928, the synthesis of an entire thought process that has strongly influenced our choices in the establishment of the upcoming trends.


There is no one particular iconic image for me, but many that especially speak of tactility, for example the chalky images that Rudolf Steiner created while explaining his ideas on the blackboard, or the materials and manuality required in the construction of the Waldorf dolls, or the layered transparency of the colored silk veils worn by those practicing eurhythmy.


We all know that we live in an incredible technological world, which allows fast and easy access to information, images, music but the acquisition of this knowledge is not enriching without a means of interpreting it, of analyzing it and putting it to good use. Education gives us the method, and the teachings of Rudolf Steiner indicate that it is within ourselves that the project must start, the way we see our fellow humans, how we interact with nature, how we interpret movement and music, what we eat and how we cultivate it, where we live  and how we construct it, how we think and how we dream, giving us a framework within which we can construct our lives. There is need for concreteness in our unsettling and virtual world.


Born in 1975, Angelo Figus is a fashion curator, designer, art director and stylist, among the many and eclectic roles he has covered and still covers in his long and prestigious career.
After graduating in fashion design at the Royal Academy of Fine Arts in Antwerp, in 1999 Angelo Figus presented his first collection in Paris on the occasion of the Haute Couture Fashion Week. The collection was later exhibited at the Museum of Fashion in Antwerp, MoMu, for the exhibition "Geometries", the same year. Later, he also presented in Paris his second ready-to-wear collection.
Among the most interesting and relevant creatves in the international fashion landscape, Figus stands out for his trend forecasting activities. Along with the Knitwear expert Nicola Miller, Angelo Figus is the creative soul of Spazio Ricerca, the most highly experimental section of Pitti Filati.


With a degree in Fashion and Textile Design in UK, her native country, and a great experience in fashion and knitwear, Nicola Miller is considered globally as one of the leading knitting and yarn experts. For several years and with increasing success, and along with fashion designer Angelo Figus, she is in charge for the artistic direction of the Spazio Ricerca of Pitti Filati, a true creative and inspirational hub of the Florentine trade show.