The time has come to talk about a resurgence of the tie: after the iconoclastic storm of the protests years, post-modern Italy feels more at ease talking about its elegant past, or tuning into the suggestions of the technological civilization.
Free from formal restrictions and ideological prohibitions, the tie is born again as an art of chromatic creations, a pleasant choice, a symbol.
The human terminal.
In an era of IT, telecommunications and artificial intelligence, it is important to remember that humans remain the ultimate terminal.
Telematics’ future developments and evolutions will be modelled on humans and their visions.
Thus, it will be possible for machines to understand the importance of the tie as a symbol of its wearer, and exchange all relevant information with other terminals within a network.
The illusions of bioengineering and robotics appear to be leading to the materialization of the old superhuman myth.
In reality, each and every man has always been a superhuman: being able to project beyond his nature into the 
dimensions of language, arts and fashion.
A garment, with its unpredictable inventions and evolutions constantly surpasses the natural being of the human body, adding an element of taste and culture.
The robot will thus never be human until the day it will be able to create its own garments and choose, autonomously, its own tie.
Long live V.E.R.D.I.! -Vittorio Emanuele Re ( king ) D’Italia ( of Italy ).
This motto by the patriots of the Italian unification – risurgence – sounds certainly rather tired nowadays.
When it comes to the tie though a certain amount of patriotism would be easily justified: 2 out of 3 ties in the world are 
“made in Italy” and our success appears destined to grow further.
Of all the male fashion exports under the Italian flag, the tie would constitute at least one of the three colours.
Sometimes the tie happens to become a livery, a uniform, a flag even.
An important statement, appropriate for important meetings.
Amongst the better known the presidential ties spring to mind: the summit ties, diplomatic flagships.
Only when meeting “Madame guillotine” sovereigns would lose their ties: only a blip, an exception that confirms the rule of an inescapable presence.
The tie and avant-garde art have in common creativity and their constant metamorphosis.
Paradoxically, if a rule were to be identified here, in both case it would be transgression.
Everything is possible and allowed in art and fashion.
The original and new, if at first apparently difficult to process, don’t take very long to impose themselves on the public taste and, rapidly, begin to develop their own transgression.
In the modern tribes, access to the grown-up and wise old men’s clan (politicians, managers, professional people) strictly requires the presence of the tie, to the extent that during the years of the youth protest, a rejection of the tie somewhat represented the hostility towards power and the older generation.
The tie totem was seen as a taboo by young people.
Characteristic of adulthood, the tie and its knots represented a symbolic initiation rite of the modern male.
Artistic research in 1900 opens with “Fauvism”, an explosive current emphasizing painterly qualities and strong colour over the representational or realistic values retained by Impressionism, of which Matisse became a leader.
It was only the beginning of the rejection by the artists of the contemporary society’s greyness and which led to the chromatic paradoxes of Futurism, Dadaism, the various forms of abstract art and informal painting.
The colour avant-garde didn’t stop at the museums or the art galleries: in what can be defined as some sort of cultural fall out it spread to the production world, to then find its ideal home in the fashion world.
Within the fashion world, the colour’s favourite niche is in fact the tie.
Music and colour don’t deal with concepts or information. They deal with perceptions or as the romantics would say, with feelings.
It is in this dimension that fashion grows its roots and influences: passionate shades, silk fingers.
For the hypersensitive romantic, genuine friendship means not being able to be seen with a friend unless wearing matching ties.
The Modigliani affair exposed the merchandising issues of originality and authenticity within the markets and in the art critics’ circles.
Thanks to a joke, everyone realized that an artist’s signature is a serious matter, to the extent that, from the worlds of fashion to art, a signature actually created new commercial values, identification and certification processes, important elements in their own right for the quality of aesthetics.
The world appears to accept, with some degree of awareness the legacy of an unrivalled ancient art; the signature vests the garments with prestige.
This applies all the more to garments of superior status by nature, the tie being one of the first ones in this group.
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