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Collections —Man / Prêt-à-Porter

Fall / Winter — 1995

Press Release

“I like the harsh wind of the East. The vital force it carries, the race toward the future maintaining instincts of roughness and spontaneity… In this past becoming present I have singled out the origins of certain elementary forms, ultra anatomical, body hugging. With shoulders round of shape, distinctly virile… In fabrics apparently full-textured and coarse but actually soft and light. I have conveyed a hard, almost austere spirit evoking spartan attitudes… drawing comfort from the softness of collarless shirts in matted flannel… Alternating energy and sense of abandon, purity and pomp, I have designed a figure with the vigor of Russian gymnasts or acrobatic dancers: Vaslav Nijinsky, Michel Fokine, the climate of Les Ballets Russes, the winged strength of Mikhail Baryshnikov… “

Gianfranco Ferré


Sharp comfortable footwear for a step swift and sure: soft boots, highly porous rubber soles, shoes with leather soles and uppers in stretch tricot. Knitwear slightly elasticized for favoring ease of movement: interlock, double and triple crêpes with the reverse in cashmere. Thick tights and snug pullovers outlining the body at the utmost of athletic expression. Dark blue, white and gym gray.


Long jackets with high buttoning and narrow collar. Shapes small and super round, following body lines yet ever slack and slender. Exlra full-textured tubular fabrics woven from puffy yarns, such as chenille in blend with wool crêpe. Chestnut-brown and honeytone clothes all in tricot. Rich chenille-relief chalkstripes in bright tones. Heavy jersey shirts, removable satin collars.


Officers of the Baltic fleet, students at the St. Petersburg Ballet School, soldiers of the Guard, pilots and steelworkers: a heritage of masculine formulas combined and contradicted by a leisure context…
Flying bombers, in a size at least one bigger than necessary. “Seal” skins treated (dyed gray, blackened and roughened to create a craquelé effect) and lined in faux fur. Dark blue jackets with details in khaki, antique gold and white, to represent old badges and stripes of rank. Buttons signaling a need for order. Simple jackets in vibrant colors, finding comfort in white, often unbuttoned shirts. With either a flat collar or none at all, in a soft, almost matted washed silk.


Forms long and constructed, collars reduced, waistlines rather rounded, fullnesses wonderfully draped. In alternative, genuine and imitation leathers as linings for certain rainwear, complemented by padded pants. A lightweight astrakan, faded with soda to attain the appearance of shadows and cracks, in mix with nylon. Leather trenches. Quilted jackets long enough to replace coats. Worn with mortartone trousers and soft, loose factory-worker shirts.


Earth and fog, brown and gray. The splendor of precious hues: cobalt, lapis lazuli, malachite, lacquer red. Balkan colors for T-shirt-straight pullovers in vivacious patchwork motifs. The same intense allegory tones for glen and tartan plaids.


A sense of ornamentation making direct reference to 19th and early 20th century patterns and prints. With naturalness and normality, fanciful touches show up in even the most sober of wardrobes: iridescent jacquard linings granting opulence to pinstripe jackets. Pants in fabulously overlapping designs, rich waistcoats, sumptuous ties. Fine checks and glen plaids alongside brocades, recollections of the elegance typical of certain Russian emigrés or turn-of-the-century dandies. Old World vanity and quality with the patina of time and wear.