• 1960
  • 1961
  • 1962
  • 1963
  • 1964
  • 1965
  • 1966
  • 1967
  • 1968
  • 1969
  • 1970
  • 1970
  • 1971
  • 1972
  • 1973
  • 1974
  • 1975
  • 1976
  • 1977
  • 1978
  • 1979
  • 1980

Collections —Man / Prêt-à-Porter

Fall / Winter — 1994

Press Release

“Thinking back, reflecting upon the origins of a wardrobe drawing both inspiration and interpretation from turn-of-the-century, post-Industrial Revolution fashion…

Succumbing to a solid and sober climate vibrating with energy, as in the description of Thomas Mann: “Shapes strangely austere, an ancestral succession of cymae, turrets, porticos, fountains, the bitter sting of the wind, a strong wind” (from Tonio Kröger).

Re-experiencing the intense and pungent cold of ice in an atmosphere reminiscent of heroic polar expeditions, from Roald Amundsen’s and Shackleton’s.

Finding once again the severe sobriety of the North, of the Baltic coasts, of England. The resolute and virile elegance of the men who built modern industry.

Thus in this collection I gave up forceful colors in favor of sepia hues, neutral tones, the bluish nuances of old photographs and archive documents. I worked at length on the jacket in order to restore an ever high-buttoned structure making for a diverse conformation of the figure.

I substituted at times the nylon blouson with a sport jacket in full-textured fabrics and with ultrafine-bellows pockets. For I feel that speaking of sportswear in terms of an alternative way of dressing, an indication of the difference between formal and casual living, no longer makes any sense. Today a man determines his style – with a softer, looser jacket and more comfortable trousers – and then regulates it according to town and country circumstances. Revealing a true sense of consistency.”

Gianfranco Ferré


Formal alternative to the jaçket, interpreted in line with fine aesthetic concepts, even bordering on the narcissistic. Waistcoats with revers, shawl lapels, in styles long and snug reminiscent of the early 20th century. In late 19th century grain de poudres and gros grains. Set off by shirts with broad stripes, by chalkstripe fabrics typical almost of the tight or clergyman suit.


The warm firmness of materials playing with a double-weave effect: chevron, cheviot, in two tones of mélange flannel. Uneven fabrics, from the cotelé crepolines reminiscent of tricot, to an innovative mix of cotton and knit. All the way to trousers in a ribbed knit, for enhancing the black suit with an easy deconstructed look. Then voluminous jaspé yarns for mélange pullovers, dusters and cabans.


As sober as a uniform under the coats in a teddy bear-effect wool/nylon. Contrasting indication of order and disorder. The order of conservative forms. with rather closed jackets almost hiding the shirt and or purposely high straight collars, not always wom with a tie.
The disorder of a free and aware formula of dressing, with a white or black T-shirt for instance replacing the standard white collar.


Up-to-date formula of all-time comfort. In flannel, in a soft teaseled cotton, solid and sturdy, the white shirt is worn relaxedly with pants in leather, velvet and thick flannel. Smooth research in terms of the collar, which may be detached, quilted, removable according to the 19th century tradition.


Stronghold of tradition, certitude of the male wardrobe, symbol of respectable reliability… But the classic forms are fully destructured, set one upon another, hidden by raincoats in army green or an intense khaki color – like the jeans and work pants which complete the outfit.
Transformed on the inside and now removable, the carmel coat warms the military trench in a washed oilskin fabric: or it becomes a robe almost, for wearing with overalls and white T or quilted-cotton shirt. Otherwise it may line the long raincoat with zips, or another coat with martingale, rather tapered in the waist.


Drawing inspiration from the dress of Prussian soldiers, from the early uniforms of German iron and steel workers, ultimately from an admirable sobriety, the jacket comes forth again in a most romantic vein. In cloth or soft velvet, in shades of green and blue, closed up to the neck to make any shirt unnecessary. These are self-sufficient jackets. featuring the concept of the uniform as an all-purpose form of apparel, a steadfast response to various demands.
Picking up on the Tyrolean Sakko formula, other jackets are collarless, come in full-textured fabrics, in a peasant style. Here are elementary jackets and duffle-coats in thick wools and unusual materials, for wearing with jeans sewn inside-out to accent a rough handle.
Here are chalkstripes in velvet and teaseled crepoline, in northern nuances ranging amidst grey, blue and brown. Jackets straight or round, for wearing the business suit in a free-and-easy way, too.


Exercise in elegance around a non-color theme (uniform black) and a personal urge for freedom. In satisfying these two criteria a series of surprising solutions, unforeseen ideas, emerge. Such as combining the quilted coat with leather jeans and white T. Substituting the shirt with a scarf. Changing the racket, rendering it long, collarless, matelassé. Alternating it with a pullover, cardigan or whatever responds in that time and place to a particular need.


While shoes connote a sense of decoration, the forms must be accurate, precise. In a dandy mood, long and square, with triple leather soles. Formal and shiny like certain clergy models. Substantial and solid in a slipper style, with already-lined leather uppers and extrasturdy rubber soles. Very broad belts in bands of different reptileskins, in mud and fog tones. A keen use of the tie: when present, it makes an important statement (like a scarf), recalls the fabrics of jackets and shirts. Or comes forth narrow and agile, seemingly underlining merely the movement of the collar.