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Collections —Man / Prêt-à-Porter

Fall / Winter — 1983

Press Release

“The tradition… This could be an empty word, without any meaning. Repeated in order to justify monotony without courage. One is traditional in order to deny what is new, not due to respect for what exists. But when one is able to combine these two principles, the new and the well-established, tradition becomes noble, both in its form and its spirit. For this reason the following requisites of modernity have intervened in the acknowledged standards: extra pockets, jackets inspired by gilets, the constant use of not lining . I have changed the gestures because a dress expresses itself in movements . But I have completely respected the unmistakable rules of the scheme, also using overchecks, also coats with half-belts… Confirming certain principles of behaviour: putting on a coat, slipping into a dress … Re-creating certain situations”.

Gianfranco Ferre’

The importance of the linings. The trench, doubled with herring bone wool, with a hidden pocket, or with velvet pockets and lapels. The perfectly double wind-jacket, two pieces in one. The super-soft suede blouson doubled in cashmere, to increase its warmth and lightness. The heavy leather shirt, doubled with nylon, worn over the t-shirt. The pullover, knitted with two fronts in different shades.

The importance of the pockets. Inserted in the cut of the darts, fastened to the lining, cut low on the shirts.

The importance of the fabrics. Rediscover / reconstitute the old fashioned fabrics: double cover (plaid on the inside) for unlined jackets and trench-coats; felt tor pilot-coats doubled in poplin; “caledon” transformed into tweed madras.

The new importance of the shirt. Doubled, sustained, reinforced either to the waist or entirely, with the yoke of the same fabric. The comfort of vyella printed in tie designs or plaid; of finely ribbet velvet, of rough cloth and piqué. The clarity of various size stripes and stiff white collars, reminding one of starch.

The recognized importance of the tie. Jacquard, ultra-fine and overprinted grisaille, wool in neutral tones, with traces of pale blue, green, ruby. The colors of English taste.

The stressed importance of being easy to wear. Pants with the pockets emphasized by leather inserts or little diagonal straps like old style butchers. Rounded shoulders give more comfort to the chest.

The importance of the evening. Tuxedos, in the dinner jacket version too, of course. Eton style jacket, in a midnight plaid, with black pants with satin stripe down the side. The king size overcoat with an opaque satin collar.

The importance, subdued, of the color. The sum of memories, of settings, of fantastic landscapes. Vague references, to suggest places of the spirit. A sense of naturalness. Ireland, the green of the moors, the darkness of the gravel, the clearness of waters. The theme of fishing, the theme of the rocks: the nuances of sporting life, the authentic color of the wools, the cottons, the linen thread. Neither white nor beige, but honey grey.

“Catching the eye is an essential gesture of classical art. The painter shows up a brushstroke, a shadow, and when necessary he enlarges it, he changes it, and he makes it a work of art”.

(Roland Barthes)