Prêt-à-porter Uomo
Spring/Summer
“I thought of a new fluency, of a suppleness born of a deep-rooted culture, one that restores the pleasure of certain materials and certain combinations, becoming taste, choice, behaviour. Everything is comfortable, within the imprint of a traditional education. My way of thinking about menswear is equally traditional: garments built with a sense of relaxation, an ease that has by now become the vocabulary of my work. With a maturity of behaviour, a certainty that is the clearest sign of taste”.
Gianfranco Ferré
1986
New rigour. A vaguely “uniform” image: T-shirt and trousers in the same colour and consistency, sometimes completed by a jacket. The jacket that annuls the value of the shirt, with a severe stand-up collar. The narrow shirt, worn outside the trousers, with bias cuts that put fullness into perspective. Blue refreshed by China cloth, alongside neutral and colonial hues.
New firmness. Identical modelling in different materials: honeycomb cotton knit of a deliberately humble character, noble silk in brilliant tones. The sweatshirt reappears, but in wool and in its most typical colour: blue. Classic suits in grisaille, linen, pin-dotted chalk stripes: double-breasted, with white shirt and regimental, dotted or striped ties. Also camouflage effects, almost imperceptible: ice on white.
New practicality. The very long raincoat, extremely light, in dense tones. Or knee-length, in solid canvas, double and stiffened cloth, or rigid gabardine. The straight blouson, which does not mark the waist nor cling to the hips. The simply cut shirt in fluffed drill, silk or poplin. Also shirts with substance and body: in China cloth, linen gabardine, washed to lose stiffness and acquire sheen. Or printed: dots on dots, tie-like graphics, enlarged symbols.
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Prêt-à-porter Uomo
Fall/Winter
“Comfort as an education of the mind. Elementary comfort in proportions and materials. Underlying every garment, constant, a sense of cleanliness and simplicity that does not conceal strength or dash: because I have outlined a modernist key to traditional dressing, free of constraints and, I would say, free of premeditation. All colours are mixed, all forms are foreseen and compatible, yet the image emerges strong. Compact”.
Gianfranco Ferré
1986
Design. Rounded shoulders return. Waists are marked by full, elastic fabrics. The blouson – for those who want a short, warm outer layer – and the slim, long coat, equivalent to yesterday’s classic overcoat, for those who prefer length. Knitwear expands into multiple genres: nikis, polos, waistcoats, cardigans, high-necked sweaters.
Evolution. Jersey treated as fabric for coats, with a new consistency. Melton rubberised and craquelé on the outside, strong and resistant like shearling. Restructured wool, combining hair with a slim yarn to obtain a flexible weave. Shirts and trousers of identical weight and fabric, emphasising a uniform sensibility. Vegetable-tanned suede or leather, glossy as if already worn, lightening along the seams.
Relaxation. Colours mixed with a casualness that signals refined care: from ochres to camel, from blues to blacks, the full range of neutrals and the coldest tones. Plain, layered, articulated one over the other – including the palette of reds, up to an intense wine shade.
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