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Collections —Woman / Accessories

Spring / Summer — 1988

Press Release

Prêt-à-porter Collection

“I have taken the liberty of approaching “classical” dressing: on behalf of those who wish to take advantage of this fact and also from a personal point of view, I have decided to re-think the situation and have strived for a certain vivacity and slenderness of proportions and a manner of combining and overlaying individual pieces. There is also a sense of the classical in my use of colour, not of necessity dark blue but a possibility of teaming bright colours. It is classical dressing far a fashionable way of life based on a modern Marchesa Casati who discovered the gift of irony.

I deliberately underlined a continuity of style and re-elaborated certain concepts according to present-day research. I have emphasised the importance of tailoring and construction which are the basics of the quality of an outfit. All derived from a concept of total femininity”.

(from a conversation with Gianfranco Ferré 28/09/87)

We accept with joy colours such as red, turquoise and white with a touch of black, the porcelain blue of the sky at Sidi Bou Said, combined according to the holiday spirit: turquoise with red, turquoise with white and beige to fill the lungs and breathe in sea air. Used for smooth, lightweight and crisp fabrics such as silk gazar.

We accept with a quiver of pleasure marine symbols and illusions such as anchors, shells, starfish and dots and stripes from Capri: enlarged, transformed, in lace basrelief or printed.

We accept with interest the ironic way of fashionable dressing, that of those who learnt their lesson from the pastmasters of thirties suave elegance. The briefest of spencers is slipped over an organza shirt which, out of respect far linear continuity, has a back in identical fabric to the spencer jacket. With floating trails of georgette and organza: scarves, foulards and long-tailed bows. With long strips wrapped around and around the waist far a bustier effect.

We accept with joy subtle exchanges. The organza pochette which becomes a neckerchief, the high neck of a sweater crossed-over and very tight. The dress tied and knotted like a bag: in lightweight gazar which balloons out over a straight skirt or plain white pants.

We accept the contraddiction of a featherweight crocodile skirt teamed with a taffetà shirt and trenchcoat. A mud-coloured lizardskin blouse is teamed with velvety grey marocain pants. Functional purses far careerwomen become suddenly frivolous.

We accept unconditionally the new, improvised costume jewellery. The leather or metal-edged porthole on caban jackets and reversible leather sweaters. Gilded or black-lacquered shells to pin on jackets. Shells embroidered in relief on elasticized georgette shirts like modern-day macramé. The giant brass pin on sleeves and necklines, sometimes on a leather blouson jacket.

We accept the unexpected with enthusiasm. The taffet or elasticized georgette swimsuit with glimpses of pure transparency. The light blue and navy blue naval sweater which appears to have black stripes which are only an optical illusion given by a scarf across the shoulders.

In the evening, all is excitement. Short skirts resemble upturned chalices in taffeta and gazar. Wide knotted georgette scarves are used as skirts together with shellcrusted sweaters. A low-necked gazar dress has a trompe-l’oeil blazer. A cheeky white evening blouse is reduced to a scarf and worn with evening pants and black gloves. The body is outlined in a series of trasparencies and shapes (a jacket is nipped-in at the waist and enlarges upwards). There is much tying and knotting of scarves and sashes which, of course, can always suddenly become untied…