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Collections —Woman / Accessories

Fall / Winter — 1983

Press Release

 Prêt-à-porter Collection

“The play of opposites… light and shadow, yang and ying, man and woman… To turn upside down, to mix, to overthrow the rules in order to discover the principle which that rule has created… Then to utilize the typical fabrics of men’s clothes, with their formal tradition, for women’s clothes, without a suspicion of austerity or severity. And to move those of women towards a more and more austere line. To rebuild the classic elements of clothing, skirt, blazer, dress, as a note which is repeated… To imagine new rules of seduction for this woman who evolves. Hollywood criteria are denied, the neckline which moves on the back. Wrists and forearms on show. High closed necks (modesty? challenge?). The hollow just below the waist in relief…”

(remarks for the reading of the collection from Gianfranco Ferré’s notes)

The redesigned figure

Eton-style shirt in pale blue yarn and grey vicuna skirt (but the shirt is an enormous rectangle, to be tightened at the back by a half-belt or to be draped by a ribbon-belt).

Flannel jacket doubled in college colors – ruby, grey, blue – and iron grey skirt (but warmed by an enormous cardigan in thick single ribbing).

The long coat halfway down to the calf, soft as a bathrobe, buttonless, without a fastening, overlapping (but collarless, with a tricot and beaver scarf, to be folded like a boxer’s towel).

The rediscovered roles

The chalk-striped coat-dress (but under a navy blue trench).

The high-society sheath, ultra-high necked in front, very low at the back, (but covering the ankles).

The bon-ton coat (but with beaver “windbreaker” lapels).

The invented evening

The tank top (but in gold crystals), the jacket (but naval officer style), the pants (but in overcheck edged with silk ottoman).

The tuxedo (but the jacket is oversize and rounded) with a shirt (however completely open at the back).

The suit (but the jacket is circular, in wool grisaille, and the flannel skirt just skims the ankle) with a shirt (but in draped satin).

The impossible colors

From navy blue to pale blue, the faded white of trench type gabardine, grey like a new black (but taffeta doubles the angora niki, grisaille is doubled with gold, facecloth fabric is doubled with flannel, the fabric doubles itself: every thing is different from what it seems. To control, to touch…).

The flashes of light: glossy fabrics near the opaque, black patent shoes, an ultra-long belt – in patent leather – to be knotted and left free to emphasize movement (see the futurists, Man Ray…).

“Women, in the end, women, for whom a gesture, a line, an audacious glance, a movement of the body, is sufficient to make them become something fascinating”.

Pierre Reverdy