• 1960
  • 1961
  • 1962
  • 1963
  • 1964
  • 1965
  • 1966
  • 1967
  • 1968
  • 1969
  • 1970
  • 1970
  • 1971
  • 1972
  • 1973
  • 1974
  • 1975
  • 1976
  • 1977
  • 1978
  • 1979
  • 1980

Collections —Woman / Accessories

Spring / Summer — 1984

Press Release

Prêt-à-porter Collection

“Sinuous but with irony, serious but winking, a flash of humour… I should like to say welcome back to this woman for whom I have designed the collection. She has been my accomplice during my travels, she has shared discoveries of climate and of colors, she has been thrilled by the same adventures. She is free and knowledgable… She wears the simplest of forms, but she cinches them on the hips, an ultra-wide stitched sash, which sketches her silhouette and suggests feline movements. As a form of security, she chooses a mannish jacket, in order to identify herself in a “classic,” then she belies it with an enormous spotted cravat which serves as a top also. And she amuses herself by shuffling the cards… She slips on pullovers with the dizziest of plunges, alternating the long-long (80 centimeters) with the long which covers the knee… Rather like the companion of Dennis Finch-Hutton, the great hunter, a little like the protagonist of one of Frank Sinatra’s songs, “The Lady is a Tramp.” She has this vagabond taste in mixing pieces and objets trouvés, which she learnt to appreciate in India or in Africa… But depurated, filtered. In a certain sense purified”.

(Notes from a conversation with Gianfranco Ferré in 26 september ’83)

Finding new ideas and new words for clothes:

The draperies. These are an unexpected solution for a collar, now on the back, now on the breast: a mysteriously tubular turn-back weakening the T-form, simple and straight, of the dresses, while often flat laces, like braces, form a lattice and camouflage the neckline.

The tank tops. Instead of shirts, but unusual, bizarre. Well-constructed with bias cuts, sashes, pleats, avoiding too much searching of design for design’s sake.

The double. One cannot believe one’s own eyes: a silk lining which freely moves under a pilot jacket. A blazer, important shoulders, distinctive belt, which is mirrored in a duster-style oversize jacket. A blouse-jacket, loose and light, worn under a photocopied jacket-jacket.

The trench. It is a piece of clothing, a belt, a situation: a garment in gabardine with a skirt both outlined and evasive, ample lapels, and a 15 centimeter-wide belt cinching the waist.

The T-shirt. Long, ample, in suede, with tricot border more than a handspan wide, which folded shows contrasting hues.

The Ascot type jacket. In little checks, grisaille, herringbone, with an allusive gilet and a skirt in a tie pattern just brushing the ankles (but for the evening).

The pyjamas. Languor, softness, aestheticism of the double white marocain jacket, of the satin tank top, of the loose pants, enhanced by an ultra-elegant cummerbund at the waist.

The lightness. Almost a programmed demonstration: against all that which is rigid, heavy, stiff. The gauzes are airy, the shantung is impalpable, the wool crepoline is very thin (while the touch, deceptive, suggests body and substance), the doubleface crepe de chine imitates an effect of mannish stripes, the featherweight gabardine, unlined, is joined to a silky nappa, shirt type.

La Revue Nègre and a vague Joséphine Baker allure, when she was the rage of the music-halls and all Paris discovered black art and music. Positive and negative Bengal patterns reaching by grades a dusty blue, the blue which is mixed with stone grey and violet. The ranges of putty, fuchsia, orange, coral in the cold shades of vegetable dyed silk.

“I love the principle which disciplines emotion”.

Georges Braque