Prêt-à-porter Uomo
Spring/Summer
“Concepts such as tradition, calm and respect for certain colours and certain forms return to my personal lexicon. For a canonical wardrobe that I continue to redefine through the themes that belong to me most closely: tailoring and a form of ease that reaches deconstruction. Filtered this time through a touch I like to describe as both eccentric and moralist, evocative of British life in the colonies. As if I had blended the films of Ivory, the novels of Forster, the books of Kipling, the memories of so much Anglo-Saxon literature. But with a note of coldness, of inevitability”.
Gianfranco Ferré
1990
The concept of line. Sartorial garments with clear, specific proportions. The characteristic fit of ready-to-wear is enriched by largely hand-finished details. Double-face pieces, such as the bomber in linen and mosquito netting. A deliberate intention towards calibrated forms, with relaxed shoulders.
The resonance of intense colours. Dense shades vibrate in contrast with natural tones, in icy nuances. Earth browns combined with grey. White and brown replace the habitual white and black. Purple, ruby red and copper recall the hues of antique carpets and silk garments. Olive green refers to military tradition. Navy blue appears where required.
Imagination and new uses of fabric. Silk with a substantial body. Featherweight iridescent crêpes of English origin. Printed silk panama. Infinite varieties of silk proposed in double layers. For knitwear, linen, cotton and silk are immersed in a soda bath to achieve a finish that is both soft and luminous. The constant presence of worked textures, double and aerated, prevails.
The reinterpretation of materials. Brown iguana with oversized scales shapes the bomber jacket. Black nubuck is polished.
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Prêt-à-porter Uomo
Fall/Winter
“This collection carries a strong sense of winter. A frosty air, an icy wind coming from the north. Yet what I am thinking of is Europe: the great cold of Knut Hamsun among the Norwegian fjords, the blinding splendour of Karen Blixen’s Denmark. Images we carry fixed in our eyes, cultures we recognise and share. Places where the sense of tradition is strong, behavioural codes are deeply rooted, the norm is known. I sought to translate these profound references into a true sense of comfort, which for me means elementariness. Lines we somehow recognise, which give the new the authority and ease of what has always existed”.
Gianfranco Ferré
1990
Towards an order of form. The theme of tailoring, fixed through rules built over time by the Ferré style, and the theme of ease, of deconstructed form. For a personal, inward reordering of menswear that once again aligns the choices of appearance with the reasons of being.
Towards a harmony of materials. New softnesses and pliancy, yet also a pleasant sense of the old and the worn, in cream-and-black and cream-and-brown chiné wools. The propriety of crêpe, Prince of Wales checks and côtelé, echoed in cashmere and wool. A dense sense of tradition accentuated by hand-polished leathers, oxidised shearlings, by peccary used for safari jackets and padded shirts. A taste for masculine rituals in decorations made with medals of honour and in prints of allegorical and geographical inspiration: compass roses, zodiac signs, stuccoes, architectural elements.
Towards an equilibrium of colour. The quiet, expansive presence of neutrals, which in the most precious yarns take on warm, golden shades. The warm naturalness of vicuña, cashmere and camel-hair for classic knitwear with dropped and carried stitches.
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