Prêt-à-porter A/I 1985-86
Look n. 78
- Collection: Prêt-à-porter
- Season: Autunno/Inverno
- Year: 1985
- Subject: Donna
- Runway Look No.: 78
Wide jacket, conceived at the front like a men’s shirt fastened with a single button at the neck; small collar with stand, lowered shoulders, long set-in sleeves finished with high buttoned cuffs, and two slit-inserted pockets.
The two front panels and the back of the garment are cut from a single piece, rounded at the lower edge so that the centre back is much shorter than the two front parts (front length 79 cm; centre-back length 32 cm). At the nape, an unpressed box pleat gives fullness to the back. The measurement and the shape of the shoulders are, however, ensured by a hidden yoke of the same fabric that joins the armholes at the back.
The appearance of the jacket is the result of a construction that skilfully uses a series of effects made possible by the consistency of the fabric (which is moreover reinforced at the back and along the whole hem by a nylon net lining) and by its striped decoration. Since the garment is stitched only at the shoulders, stripes appear vertical at the front and horizontal at the back.
One-piece dress in satin used on the reverse, tight-fitting and completely low-cut, composed of a high-waisted skirt in eight panels and a bustier. The two parts are joined by a few stitching points inside the skirt. Shaped bodice in doubled and interlined fabric; at the back, it has two panels opened like a fan, sewn to a band of stretch satin visible through the triangular slit. Inside the garment, a strip of black-and-white striped satin is sewn around the waist.
The model recalls 1950s haute couture: the tight, low-cut sheath dress takes up the early creations of Dior, updating their length and bustier. The jacket, instead, reworks the theme of fullness at the back typical of Balenciaga and Balmain, inspired by the eighteenth-century robe à la française with its pleats opening from the nape to the hem. Gianfranco Ferré offers an original version of it in 1980s style, achieved by transforming the model of a men’s shirt to express a femininity that asserts itself by using and transforming the signs of the opposite sex, even when constructing a new imagery of elegance and seduction.
The two front panels and the back of the garment are cut from a single piece, rounded at the lower edge so that the centre back is much shorter than the two front parts (front length 79 cm; centre-back length 32 cm). At the nape, an unpressed box pleat gives fullness to the back. The measurement and the shape of the shoulders are, however, ensured by a hidden yoke of the same fabric that joins the armholes at the back.
The appearance of the jacket is the result of a construction that skilfully uses a series of effects made possible by the consistency of the fabric (which is moreover reinforced at the back and along the whole hem by a nylon net lining) and by its striped decoration. Since the garment is stitched only at the shoulders, stripes appear vertical at the front and horizontal at the back.
One-piece dress in satin used on the reverse, tight-fitting and completely low-cut, composed of a high-waisted skirt in eight panels and a bustier. The two parts are joined by a few stitching points inside the skirt. Shaped bodice in doubled and interlined fabric; at the back, it has two panels opened like a fan, sewn to a band of stretch satin visible through the triangular slit. Inside the garment, a strip of black-and-white striped satin is sewn around the waist.
The model recalls 1950s haute couture: the tight, low-cut sheath dress takes up the early creations of Dior, updating their length and bustier. The jacket, instead, reworks the theme of fullness at the back typical of Balenciaga and Balmain, inspired by the eighteenth-century robe à la française with its pleats opening from the nape to the hem. Gianfranco Ferré offers an original version of it in 1980s style, achieved by transforming the model of a men’s shirt to express a femininity that asserts itself by using and transforming the signs of the opposite sex, even when constructing a new imagery of elegance and seduction.
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MATERIALS
Grey wool and silk satin (Taroni, Como); black stretch satin (Bucol, Lyon); black-and-white striped duchesse satin (Taroni, Como); black nylon horsehair.
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