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Collections —Woman / Prêt-à-Porter

Fall / Winter — 1986

Press Release

“Naturalness worn to the point of severity, a sense of freedom and freed from glamour: in order to design this collection I have moved between these two extremes, one being the logical consequence of the other… I have freed the gestures – opening a shirt, eliminating buttons, cinching a waist with a ribbon – and I have given form to an image which is very strong, which entrusts its own femininity to attitudes, to movement. Which fixes attention on the belt. But without nostalgia, without thinking of the past. Because I am interested in building up a new tradition, paying attention to the accepted elements of a wardrobe by a different way of thinking. One may change the details of a trench, knotting it with a moiré ribbon, colour a silhouette of the future by insisting, from the gloves to the dress, on a single hue. I am attracted by the compactness and neutrality of a continuous figure, which is not broken up… “

Gianfranco Ferré

Clearness and colouring. “The idea of a happy sexuality, sweet, sensual, full of joy, is read in the painting, or better in the colour.” Roland Barthes. A certain conceptual tendency, a taste for minimizing in order to reach the maximum of seductiveness. The new slimness of what is brief and clinging, with jackets with a wonderful balance between a tiny waist, wide shoulders and rounded hips. The sinuousness of what is soft and emphasized: in the “crushed” jersey jackets cinched by a belt. In the tricot with marked stitches (cables, ribbing, terry effect) cinched at the waist making them full. In the trench style coats, bound by a satin ribbon.

Contrasts, exaggerations and a vivid sense of the material. Cashmere in the hues of cashmere, the mordorés and the golds of alpaca mohair with long hair and of the nappas for gloves. Natural shades, but perfectly urban (“The city is a reality which belongs to us,” says Gianfranco Ferré). A palette which is gay (and gorgeous) of corals and reds, with the sparkle of noble fabrics: mohair, iridescent raw silk, organza. Monocolour is interpreted: every material has its shades (for example, cashmere gloves backed in leather and a cashmere coat). A white thread to make uniform or to break up: a shirt in the same fabric as a jacket and a scarf. A T-shirt underneath a jersey caban, an evening cardigan in organza over a short lamé skirt. A cadì jacket, bound with beige moiré ribbon.

Transpositions and interpretations. The cardigan becomes a mohair coat; the jumpsuit, in its feminine version, is transformed into a straight black dress, with a hidden zip and a high collar. The shirt grows to assume the dimensions of a coat. The collars of the pullovers lengthen/widen without measure. The super realistic prints which decorate T-shirts and shirts reach gigantic dimensions, which justify cuts and cuttings. Elegant moiré, faille, lamé (carried out with “falling” or spiral threads, a technique of the twenties) for “The Lady of Quality,” as Velasquez entitles his famous portrait. Fresh organza shirts over trousers, shiny polos, moiré trousers and ample blousons thrown over the shoulders. Skirts and blouses, cinched at the waist, collarless and doubled. To reach that sophisticated simplicity which Oscar Wilde said, “is nothing but a pose.”