FIBER LAB - Creative Resources


Italiano (Italian)


NABA, Nuova Accademia di Belle Arti (New Academy of Fine Arts) is an art and design training academy: it is the largest fine arts academy in Italy and the first to receive official recognition from the Ministry of University and Research (MUR) in 1981. With its two campuses in Milan and Rome, it offers first- and second-level courses in the fields of design, fashion design, graphics and communication, multimedia arts, new technologies, scenography and visual arts, for which it awards academic diplomas equivalent to university degrees. Founded by Ausonio Zappa in Milan in 1980, involving Guido Ballo and Tito Varisco at an early stage, and then activating a nucleus of artists including Gianni Colombo, the Academy has always aimed to challenge the rigidity of the academic tradition and introduce visions and languages closer to contemporary artistic practices and the system of art and creative professions. NABA was selected by QS World University Rankings® by Subject as the best Italian Academy of Fine Arts and among the top 100 institutions in the world in Art & Design, was listed by Domus Magazine among the 100 best schools of Design and Architecture in Europe, and by Frame among the 30 best postgraduate schools of Design and Fashion in the world.


The two-year specialist course in Textile Design NABA, Nuova Accademia di Belle Arti is an intensive two-year course that is based on the development of experimental, laboratory and cultural projects in the field of fashion textiles, from fabric to knitwear, with specific insights in terms of innovation, technology and sustainability.

Making use of strong relationships with the most important realities of the Italian textile supply chain, the course allows the student to receive training that is completed with the discovery and development of professional content with companies, foundations and archives.

The goal is to define and direct the student’s vision in work that demonstrates the ability to manage the methodologies of research, design, prototyping and representation in a coherent, autonomous and professional manner in the areas of textile design, knitwear collection and Fiber and Textile Art.


His research in the visual arts prefers contaminations between artistic disciplines, from performances to installations, to the use of the crochet technique used to give rise to sculptural masks and costumes, to the conception and dissemination of “Illegal Aliens” (soft toys fetishized sculpture). His creative process is influenced by everyday life, which, transformed into a celebration of lightheartedness and joy, contaminates theater and dance, fashion and music, set and costume design, sewing and drawing, running through philosophy and poetry. His art, influenced mainly by his time spent in New York in the alternative club scene of the mid-1990s, has been featured in numerous exhibitions and publishing projects, academic theses, theatrical performances, and collaborations with fashion and design houses in different countries from Europe to America.

KNIT THE LANGUAGE, Prof. Aldo Lanzini (Teaching FASHION DESIGN 1, module Knitwear 1)

“KNIT THE LANGUAGE curated by Aldo Lanzini, is an opportunity to encourage students to engage in a cultural, experimental and workshop reflection on the historical and cultural significance of the knot in textile art practice. The diverse cultures and geographical backgrounds of the students fostered the construction of a contemporary language of textiles, making the textile medium a true tool for personal expression and identity”.

Luca Belotti, Master of Arts Fashion and Textile Design Course Leader NABA, Nuova Accademia di Belle Arti

INTRODUCTION TO THE COURSE: During this course, you will embark on a journey to understand the expressive power of threads as language. You will question the conventional boundaries of textile design, exploring the rich history and evolving contemporary aspects of threads as a form of communication. You will conduct research and insights into the evolution of threads as a medium of expression, from their origins to their innovative applications in the age of artificial intelligence (AI). Combining tradition and innovation, you will be charged with creating textile works that are both visually appealing and culturally enriched, capable of serving as a language in our contemporary post-human environment.


Historical Perspective: To explore the historical roots of threads as a medium of expression, following its path through different cultures and traditions.

Contemporary Relevance: To investigate how threads and textile design have evolved in the context of contemporary art, fashion, and technology, with a focus on AI and post-humanism.

Language of Threads: Analyze the semiotics of threads, understanding how they convey meaning, symbolism and cultural identity. Creating New Languages: Experimenting with threads as a means of creating new visual and symbolic languages in the textile medium. Visual and Cultural Enrichment: Emphasizing the importance of infusing cultural context and meaning into textile designs, making them attuned to a global audience.

Wearable Fabrics: Design textile works that are not only aesthetically appealing but also wearable, bridging the gap between art and practicality.

Post-Human Communication: Examining the potential of textiles to communicate in a post-human world where technology and AI play key roles.


Thread as Language

Historical Perspectives on Thread in Textile Art.

Cross-Cultural Exploration of Thread Traditions.

Art of Thread in the Contemporary World

Technological Advances in Textile Design

The Role of IA in Textile Creation

The Language and Symbolism of Thread

Thread as a Cultural Identifier

Creating Symbolic Narratives with Thread

Realization of Symbolic Textile Art

Infusion of Cultural Context into Textile Design

Textile Art as a Means of Cultural Expression.

Creation of Visually Engaging Cultural Narratives

Fusion of Visual and Cultural Elements

Textile Design in a Post-Human Context

AI and Textile Art: Exploration of Possibilities.

Ethical Considerations in Post-Human Textile Design.

METHOD: This research aims to explore the role of the textile designer in the public sphere, emphasizing the promotion of environmental responsibility, the transformation of abstract concepts into aesthetic codes, and the promotion of courageous action. She begins this journey by delving into historical precedents, such as the Quipu, a pre-Inca Peruvian system that used knots and ropes for communication, ‘Nüshu,’ a unique Chinese script reserved exclusively for women’s embroidery as a secret form of expression, and the ingenious use of knitting patterns during the tumultuous periods of the two World Wars to encode secret messages. Building on this historical foundation, the research extends its inquiry into the diverse and contemporary possibilities of using thread as a means of communication, transcending the limits of traditional design.”

FINAL PROJECT: The final project will require you to create one or more wearable textile works that serve as a language for communication in a contemporary post-human environment. This project should reflect your understanding of thread as language, cultural enrichment, and the influence of technology and craftsmanship.



The development of the project focused on wanting to communicate what we cannot see from the outside, in particular I wanted to refer to the human body. It is a reflection on a personal life experience of mine, with the aim of communicating through yarn, what no one had been able to see from the outside: physical and emotional pain. Above a crocheted black tunic, which does not let anything of what is underneath show through, images of my x-rays and MRIs were made by means of embroidery.


The design of a nest is determined arbitrarily and randomly. Birds do not consider the meaning we attach to the material when they collect it for their nest, but focus exclusively on the practical aspect, creating a purely material language, detached from the meaning of the object. Migratory birds also have a nest. Being a migratory bird myself, I was nesting my portable nest: a raffia bag that can be transformed into a nest. The nest is portable and ready to use. Hop in and feel at home…Hop in and feel at home.


The project aims to communicate in an innovative way, overcoming the limitations of common language that is too conditioning. Using wire as a means of expression, an attempt is made to create a form of communication that goes beyond words, acting as a conduit between sender and receiver. The complexity of human beings, endowed with capacities for thought and consciousness that can also lead to mental disorders, is emphasized. Mental illnesses often remain poorly understood, but the thread offers a more intuitive and understandable way to communicate, going beyond conventional words. This approach aims to create a deeper and more meaningful connection between people.


The project is inspired by the period of the two world wars, a time during which women became the bearers of secret, coded messages. Often these messages were exchanged through embroidery or knitted stitches, hence I decided to emulate morse code through two simple knitted stitches. Each panel has two faces, one knitted where I have the phrase chosen by the person sampled, and the other in fabric with the person’s own print. When combined the panels go to make up an elegant double-sided overcoat, and, at the same time it represents a personal family tree of mine with relatives and friends to represent the ties that lead me to be the person I am.


“I heard your voice from a seashell” is a reflection on how necessary it is to have a real or ideal place where we can take refuge, where memories, secrets and dreams are kept. The seashell is us; it is a symbol of a space where we can listen to ourselves and do introspection. That is why I have reconnected the figure of the shell with that of the gramophone, which repeats this soft, whispered sound, as if to tell a story not to be forgotten.

  1. JIAAI YIN (Cina), ALPHABET, 2024

Through studying the Quipu, the Nvshu, World War II, and Codex Seraphinianus, I combined my own ideas, replaced the intersection position in the font with circles, created a new script of my own design, and established simple rules. Also, since circles are often associated with words such as delicacy and perfection, I tend to use this script to write words with positive connotations.