Collections —Woman / Prêt-à-Porter

“In reflecting upon the ebbs and flows that govern history, what made a deep impression on me is how every turn of the century enfolds a singular impulse to simplify shapes, lines, styles of dress. With a similar intent in mind – true, moreover, to an essential aspect of my signature fashion vision – I sought in this new collection to put an all the clearer accent on the quasi-geometric purity and precision of constructions and cuts. Ever pursuing an ideal of perfection and refinement that ultimately captures instances even of regalness, at once graceful and severe, vibrantly today. Within the horizons of this utter cleanliness, I allowed for explicit sensations of opulence, subtle traces of redundance… eminently thoughtful… mostly in the sophisticated magic of decors…”

Gianfranco Ferré

 The logic of precision defines structures and proportions first of all. High-waisted trapeze skirts award the figure a quiet flaring, in no way swingy. Pants have a quick, ergonomic form, particularly slim to the knee, a bit wider below, with a perfectly pressed pleat (military uniform mode). Impeccable urban suit jackets are short and skinny, merely skim the waist over lusciously soft sheer drawstring-blouses with high bow-fastened neck. Day coats too are slim and straight, border on ultramodern re-editions of early 20^th century children’s models. This singular cleanliness of shape heightens the impact of minor/major marks of distinction, emphasis, uniqueness: the Brandebourg frogs, the velvet inserts, the stitched martingales, the embedded belts. And then all the thick clusters of tiny round mattock-tooled metal buttons giving a special shine to jackets, coats, T-shirts…

 A further mark of distinction comes in the aristocratic palette, clearly low-key. Black shades into brown and into the darkest and wintriest of blues. Soft biscuit colors alternate with wool white and with the warmest hues of unbleached felt. Rich and deep instead are the gorgeous gemstone glints and nuances: ruby, amethyst, Indian emerald, Malaysian sapphire. Interrupting the prevalence of solid tones, a sole pattern recurs throughout the collection to become keen graphic/decorative leitmotif. Namely, symbolic Nordic beasts in white and unbleached felt hues compose enchanting kaleidoscopic images on all types of fabrics, create charming faux cretonnes…

 The wealth of materials is a matter equally of natural full textures and true alchemic marvels. Wool expresses a wondrous versatility in endless forms, from gabardine to twills, from double faille to stretch cloth, from satin to bistretch crepe. Cane-crumpled chiffon, in ivory or ink blue, fashions lovely once-upon-a-time shirts with a totally new appeal. Both ponyskin and a cotton with silk duchesse lining construct military cadette-style spencers. Upholstery velvets come in washed versions, while mink fur for trenches and other types of coats have the look and feel of old chenille thanks to washing and drum-tanning…

For evening, artful-mischievous romanticism and Victorian austerity intermingle beautifully. Dresses are bare on the shoulders or, on the contrary, reach up to the chin. Ultrafluid skirts in satin or velvet have petticoats in faille and tulle; they fall naturally to the floor with the hint of a train reminiscent of the late 19^th century Princess line. For extra warmth on winter nights, hussar-style greatcoats come in double cashmere or silk velvet with taffeta lining, again rich in glimmering button decors. And with each step, both evening coat and dress open to reveal knee-high jet-studded slave-girl sandals… perfect for an Imperial Venus of the new age…