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Collections —Woman / Prêt-à-Porter

Fall / Winter — 1994

Press Release

 “A new sense of freedom: an intense and vibrant taste combining naturalness and simplicity, taking artifice to the utmost limits, developing mannish details on fully feminine figures and forms… In this collection I came to a diverse awareness of dressing, one intrinsically assimilating a sure solid past while inventing an energetic present at once straightforward and smooth. I perpetuate the need for an order which is becoming, appealing, in no way obligatory. An order deriving from an openness of interpretation. Thus the jacket moves away from a predictable context to turn into a dress, a sweater or basic over. The shirt breaks free from a standard concept to flutter easily over bodysuit and leggings, only rarely ending up under what was once known as a jacket. Each garment reacquires its deepest identity, its true “entity.” And so the shirt is wondrously self-sufficient, the skirt can succumb its role to a cascade of jais beads or the surprise of a foulard-belt intentially revealing underneath the flash of a black knit silhouette…”

Gianfranco Ferré

Materials and shapes.

Due to the mysteries of alchemy, materials lend consistency to form and come up with unusual solutions, sculptural effects.

The new volumes emerge from flows of silkiness: taffeta, tubular silk velvets, silk and viscose velvets. Certain sweetnesses are the result of a velvet and cashmere bond, the expression of gentle gestures (enveloping head and shoulders with a scarf in a soft hood fashion). In some evening dresses the density of the drapings bursts forth unexpectedly through the use of a jersey reminiscent of  “Champion” T-shirts.

Like in the Wunderkammer (Room of Wonders), nothing is what it seems: a marbled animal skin resembling a lightweight otter is actually a softened and faded velvet. The open-weave chenille with georgette and matelassé lining becomes a skirt of fine braiding. The passementeries and tapestry cords – large, loose, in chenille yarn – take shape as sumptuous shawls and cabans. The fur apparently of ostrich and feathers is a mass of wool in a flocking styling. Instead of necklaces and bracelets, soutage bands are stitched onto georgette for a soft supple effect. Then there is an exchange of systems and techniques: shuttle weaving (typical of terrycloth) comes into play for mohair. Result? Plastic coats to throw on comfortably as if big scarves or robes.


A pale glow shimmers from absolute blacks and whites. A soft dust dims the neutrals ranging to a delicate pink. The institutional strength of gray flannel takes on the opaque sandy hue of an ancient helmet for the jersey athletic of origin. Sandtone acquires density with dry-branch nuances in mixes on the camouflage silk prints lining military-style coats. A bouquet of drying-peony shades, from pink to violet, offer a rich and vibrant note.


Neither status symbols nor tributes to tradition, but forms underlining the body, objects marking the arm, the shoulder, the waist. Alligator straps wound six times around the wrist, twisting chains seemingly a flow of gold dust. With a tribal-primitive force the scarf becomes a necklace, the alligator and leather band takes the place of bracelets…

Different supple materials decorate the dresses. Rather than diamonds, cascades of rhinestone-studded georgette with glittering fringe. Jais necklaces on a silk chiffon background substitute the shirt. Then, for a languorous evanescent sensation, flowers, bouquets and garlands of leaves are printed on transparent fabrics by means of the sublimation technique which in setting down the photographic image eliminates all edges, as if a heavy fog had suddenly settled in.


Opposites thrive side by side. Short and long join forces: under the military coat (despite a collar lining in crushed velvet) there is the knee-length pullover worn over thick opaque hose. Or the “freebody”: a light knit bodysuit and legging set. Shapes long and drawn out. Peekaboo skirts. Comfortable pants (if any).

A masculine/feminine mix: severe fabrics for glamorous looks, sweet ones for the more conservative styles. Silk duchesse for the mannish shirt. Silk velvet and wool felt in combo for the coat. An accent on legs balances out the volume of shoulders. The snug jacket free of shoulder pads heads upward raising the waistline by a couple of centimeters for somewhat of an egg shape.

The silhouette appears body-skimming, watery liquid, thanks to patchwork effects: as in the case of the over from shoulders to waist in crepe, the rest in georgette, including the transparent sleeves and the scarf.