This was the advent of a mobile, nomadic tourism, which favored wooden and metal wheels and platforms over the concrete foundations of houses and hotels, a new triumph of the temporary and the changeable, in its own way a consumer good.
In the absence of obsessive reels and bombastic feeds, it was the magazines that promoted this imagery and its objects. Then, confirming everything, came the moment of the real-life vision of these equipment for a new holiday lifestyle. And at this moment the scene was made up of the major national and international trade fairs, the great Fair in Milan or its specialist branches devoted to transport, all the way to a specific one such as Sincas, the International Exhibition of Camping and Sport that established the importance of the new ritual.
The driving force behind it all was new technological experiments into evolving typologies, like tents and caravans (at which figures such as even Marcello Nizzoli, designer of the Olivetti Lettera 22, tried their hands) and above all new materials. The scene was dominated by actors like Pirelli, who after colonizing all the living rooms in Italy – think of foam rubber, the nastrocord in Marco Zanuso’s Lady armchairs – and the bedrooms – think of Munari and his monkeys for Pigomma – promptly also dotted the now famous lakelet with rubber dinghies and above all mattresses, new inflatable icons well in advance of the radical follies of groups such as Superstudio or Coop Himmelblau.