• 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

Spring / Summer — 1983

Press Release

Identification of a man

“I like to think that the protagonist, always consistent with himself, always strong, always unchanged, has been overcome. And that man has instead, through his experiences, his way of living, the changes in taste and custom, established a relationship, with himself. I would say almost a physical relationship, with his own face. And is, therefore, different, depending on the moments and the opportunities. If he works at the International Monetary Fund, his responsibilities and the role he plays demand that he looks like a businessman. If he travels - and I think he often does through his own choice or for business - he absorbs the colours, the climate, the relaxed environment. He preserves them within himself in a nostalgic way. And that vague feeling which great cosmopolitans call nostalgia for Africa, nostalgia for India. The summa of several civilizations, filtered by memory. Ernest Hemingway, to a certain extent. Possibly Errol Flynn”.

(Gianfranco Ferré, conversation recorded on July 3, 1982).

The elements of the game

Classical style. No interpretation, no line or fabric escapades. If it is to be formal, let it be impeccable: jackets with important and yet soft shoulders, clearly visible revers, the light “freshness” of linen, the tropical mixture of cotton and linen, of silk and cotton.

Casual style. A memory of polo and cricket, in the white mixed with the classical English colours. And a touch of a coat of arms. With waistcoat type pockets in two contrasting shades, blouson in pekary, niki, in terry-towelling.

Hunting style. A perfect camouflage in the savana and in the desert among the tree trunks and the earth. The bush jacket and shirt have loose wind-shield document holder pockets in cotton grisette with pekary appliqué work. The trousers are high waisted, with double loops and sandproof sealed pocket.

Natural style. Like on a farm on the Kenya upland plains, on holiday in Rajastan, in a bar in Nairobi. Light striped jackets in Indian cloth, even towelstyle checks. Eastern spice market colours, together with the white of the shirt and of the trousers, the leather of the two-tone Old England style shoes. Shirts often without collars, sometimes without buttons, which just fold over.

Knitwear style. Interlock with suede patches, terrytowelling, on the clipped side and on the other side, with cotton poplin, pekary and mélanges of natural fibres to form stripes. Silk/linen, cotton/linen, raw as though they were hand woven, with cotton sleeves to be rolled up. Utmost comfort, like the noiseless espadrillas-style shoes, but in leather, and the soft belts plaited in various materials.

(”Francis Macomber’s” by E. Hemingway)