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Collections —Woman / Prêt-à-Porter

Spring / Summer — 1986

Press Release

From “The Empire of Signs” by R. Barthes

“Down there”:

“When I imagine a fictitous people, I can give them an invented name, openly treat them as something out of this world… in such a way as not to involve any real country in my fantasy… I can also, without pretending absolutely to represent or analyse the minimum reality, take over a certain number of features (graphic and linguistic terms) in any part of the world (down there) and with these features deliberately form a system.

When designing this collection, I wondered which features I have taken over while proceeding almost unwittingly on a journey, already begun, toward oriental cultures. Because it is the case of an instinctive route, which starts acknowledging necessity and various incentives: energy, therefore red. Purity, therefore white. Balance, therefore red and blue. Silence, therefore a soft step and flat shoes in quilted fabric, with an elastic sole or in three layers of buffalo. All that which is pure in itself: like the body, shown in its strength and in its nudity…

In order to exalt it I turned to new technologies, focusing on a double jersey in linen, viscose and wool; utilizing leather for its natural suppleness; using double cotton jersey to design simple dresses and T-shirts, softly cinched at the waist by a cummerbund of matching fabric… I have gone ahead by associations, without keeping to a logical path…”

Gianfranco Ferré

Returns and crossings. The T-shirt dress in leather, sleeveless and with a bare back; and the black jacket vaguely reminiscent of judoka, cinched at the waist by a blue belt.

The mannish blazer with a white piqué shirt; and the swimsuit which can be taken apart, as the top, which is zipped to the bottom, can be removed leaving Lycra briefs.

The tube top in various materials and structures; and the maillot with a ring of lycra wrapping shoulders like a towel.

The classic range of beige (sweater with dropped shoulders, trousers in a close canvas weave, judoka jacket in waterproof shantung); and the natural peccary of the ultra-clinging shirt-jacket, over the comfy black jersey trousers.

The blue and white cotton bustiers with a deep plunge, which leave the figure free and jaunty; and the Mao-style suit with kimono-over-jacket in an ivory and porcelain blue pattern. Lined with dotted silk.

The red dress, reduced to a minimum, with two wide braces on the back; and the suit as precious as an antique box in lacquer red and blue, with a double print, over a black satin bustier.

The outfit made up of a white blazer, red trousers and a brown leather jacket. Highlight item of summer ’86: wide straight sleeves, a cut which seems to “escape” on the back, to infuse a plastic sense in the material and give a spontaneous dimension to the movement.

A samurai-style skirt, sensuous in linen and silk denim; and the statuesque dress with crisscrossing red bands.

For the evening, a parade of unique pieces, which have the cadence and feel of oriental fables: the mannish jacket, red like the pleated skirt in a Chinese screen print. The Mao-style suit with gigantic and polychrome designs. The simplicity of the trousers and the blue sweater with a boat neck, contradicted by the corselet belt in opulent flowers.

The judoka jacket in shiny blue ottoman over black satin trousers. The polo dress, short and straight, completely embroidered. The petticoat, with an opaque blue background and a neckline exaggeratedly long in back, held and draped by a “tubular band” which threads through the arm and obliges the dress to fall. A mannish shirt and a pleated skirt in chiffon, in a single trompe-l’oeil piece. The “puzzle” dress with a single sleeve, which can be held in a hand. For a carry-and wear-collection.