Collections —Woman / Prêt-à-Porter

 “There’s much tranquillity, much interior peace in this collection, much culture in the feeling of a demeanor which has been acquired. Because aggressiveness, the need for success, planned casualness belong to the past, they have been slowly reduced and blended, and only that which is sufficient and felt to be necessary has been assimilated. Whereas today a sense of quietness and simplicity has reappeared, which means comfort for the sake of comfort, the spontaneous choice of what one likes, whether an espadrille in hogskin or a sculptured pump which mixes a wedge with a heel. Nothing is unnatural or artificial. Even the pieces of material which one folds, one drapes , one wraps around the body, express simple, instinctive gestures… With a clearness which reminds one of certain orientaI disciplines… Thus it seems to me that these dresses allude to particular qualities: individuality, intelligence, independence. As if they say: you are fashion.”

Gianfranco Ferré

Now it’s time to choose freely and naturally: the slim jackets, shorter behind, longer in front, in order to give a vertical and fleeting air. The oversize jackets in heavy georgette: almost a man’s shirt with an effect of invisible folds under the small pleat, to team with cotton gauze shirts. The baggy pants, comfy, full, with slit pockets among the darts, in unusual fabrics: silk taffeta, silk poplin, cotton flock. The jacket relying on the spontaneousness of a knot which gathers the fullness, drawn tight in front, blousy at the back. The straight tunic with an overlapping panel, which creates drapery by simply putting one’s hands into a pocket. The bare unadorned dress, with a pleated overskirt, on the bias, unironed, waving with each step. The rectangular pullover, the buttonhole neck to be worn with supreme indifference: it doesn’t matter whether front or back, dropping loosely in dizzy plunges. The gigantic skirts with bands knotted at the waist and falling in a center pleat. The draped swimsuits with tiny natural pleating (the effect of the superdimension of the Lycra). The doubleface buckskin for the over-shirts with well-marked but sloping shoulders, with a scarf border in silk which can be tightly knotted. The new versions of black: a marocain skirt, pointed and closely fastened like a waistcoat, with a transparent organza tuxedo shirt. The bustier dress, also with double points and close fastening, a handkerchief tucked in the pockets, and which emerges at the belt, and falls again on the back (this is the salient feature of the season). The ribbed pullovers and tank tops in gold thread, the cardigans and sweaters in marocain like the skirts with geometric designs. The swirling prints with concentric patterns, the wool and silk terry, the “starched” cotton gauze, the Flanders linen, the double yarn-dyed silk, the linen with a broad weave, stolen from the men’ s collection, following two tastes, opposite, but not conflicting: soft spent fabrics, alive rustling fabrics. The dense and opaque colors, like blue teamed with brown and with black. The energetic colors of the Tibetan bonzes, yellow and orange. The spiritual colors, total white, relative white and sand hues.

FOR A ZEN COLLECTION (To read, if desired, according to the Zen maxim: “Whilst walking, walk. Sitting, sit. Above all do not hesitate.”)