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Collections — Man / Prêt-à-Porter

Fall / Winter — 1985

Press Release

“I haven’t any explanations ready; I haven’t been subject to any particular influence… Taking away, trimming, eliminating I have achieved a line which is more and more cleancut, more and more severe, a conception of dressing which is a choice of being rather than appearing to others. I have teamed, with spontaneity, certain trousers to certain shirts and certain jackets, as if one were very calmly choosing from a well-stocked wardrobe. And I have respected tradition in a very decided manner: if there are any questions, they would be clear and precise. lf one takes liberties, they should not be attenuated by compromises. Without insisting on new transformations because of the need to create fashion. These are useless after the experiences of the means of expression and movement of the previous seasons. Thus one may find set elements again, repeated frankly year after year, but interpreted with taste of the moment: fabrics which are more consistent, a real feeling of materialness…”

Note: the super soft flannels, alive, but always with body. The lodens, treated to eliminate their roughness: for jackets, jeans, overcoats. A coarse gauzed melton, very elastic: for nikis, zipped sweaters, highly protective linings. The seams at the borders, whieh avoid double stitching in order not to flatten and crush: also in the trouser pockets.

“It seems to me that there is a different awareness, nowadays: one accepts only that which is part of already well-defined characters, which are not born by chance or through feigned inspiration, but which rely on a previous story. Because of this the most significant suit, the style which I feel is most mine, goes back to deeply-rooted habits: a grey flannel suit, the collar turned up, paradoxically the shirt and the tie invisible…”

Note: the workmanship with a floating thread, typical of fabrics of the end of the nineteenth century. The effects of stripes, clean-cut or broken up, brillant and very fine. The real suede, mottled, pulled, weakened, in neutral shades. The linings: quilted, or tartan, or in fur, with little collars of wolf or marmot. The sheepskin overcoats in opaque, faded tones.

“l have followed, deliberately, obstinately, the ways of normality, but without fear. lf one should wish for the impact of a colour, here it is, there is alsothe colour…”

Note: the range of greys which dilute into unusual pale blues, English hues, darker and more decisive specks. The range of dark greens, with brilliant touches. The ideas for the evening: a ruby jacket with black velvet trousers; a cashmere cardigan and a completely embroidered shirt; a jacket with a tiny pattern over a silk oxford shirt; a loose jacket over a twill shirt, damped by hand to make it limp, and flannel trousers.

“There aren’t preestablished trends: away with the sports jackets, only overcoats. No suits only separates. Everything that is useful, which is comfortable is gathered together in this collection…”

Note: the loose blousons, full or waisted. The ample car-coats, in the right length: a hundred centimetres. The jackets are purposely comfy on the chest, with sophisticated details: patch pockets in front for change, telephone tokens, a ticket: gussets to move more freely. The trousers are well-balanced, with double pockets. For sport, very flat trousers, high at the waist. The knitwear with cables placed, double, in mélange mixtures. Polo type shirts, double tricot cardigan on top of a jacket instead of an oversize jacket. Simple shirts in flannel, cashmere, silk, cotton zephyr. Purposely bare and simple.

“Steps” from the conversation with Gianfranco Ferré on 8.1.’85