Prêt-à-porter Uomo
Spring/Summer
“Men’s fashion is for me a question of method. A proposal grounded in tradition and quality, one that refuses the anxious pursuit of fashion as an idea in itself in order to address the broader, more general – in a sense absolute – notion of dressing. Thus, in every collection, canonical themes return, universal colours emerge, a manner and an attitude are articulated, like new words forming a recognisable language, a consistent style.”
Gianfranco Ferré
1991
A contemplative mood. Memories of summers spent between the sea and Provence, a cultivated bucolic sensibility. Relaxed garments that respond to the need for a spontaneous, immediate way of being.
Very lightweight fabrics, often perforated and aerated. Stretch tulles for safari jackets with pockets that expand to hold objects. Raw linens and oilcloths, where every natural crease becomes a trace. Cotton-and-silk oxford cloths used also for fil-à-fil jackets, as for shirts. Toile de Jouy printed on a fil-à-fil ground.
Allusions to sport – baseball, cycling, tennis, running – practised in the moment, for the purely physical pleasure of the gesture.
Timeless colours: white, the haze-grey of morning, the light blues and deep blues of the Mediterranean.
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Prêt-à-porter Uomo
Fall/Winter
“Moving forward with my work, verifying day by day what I have designed, I came to realise that instinctively I organise what I would define as a natural wardrobe, one that belongs deeply to me. Without a preconceived scheme, beyond broad lines and cultural models, privileging instead feelings and impressions. A romantic man might dress in a soft shirt, without a tie. A more formal man, yet with the ease of an upper-middle-class education, might choose navy blue. It is character that determines choices, while seeking one’s own coordinates for moving within a panorama that has clear European roots”.
Gianfranco Ferré
1991
European images, as films, books and old photographs consign them to memory.
The black of suits in London, for an urban and Victorian phenomenon.
Dark green, almost muddy, summarises Berlin; the relationship between nature and city, that military-industrial style recalling the Tyrol. Grey evokes Paris at the beginning of the century, that conservative manner of dress of the French bourgeoisie. Colours articulated through certain conventional forms: the shaped coat, the Mitteleuropean loden cut, the overcoat of Anglo-Saxon derivation, yet with greater dynamism and comfort.
A desire for cleanliness and precision, without excessive transformation: each fabric appears exactly for what it is. Flannel regains its familiar consistency, crêpe its characteristic dryness.
Knitwear and leather respond to the function of leisure time. Leather recovers an elastic substance, neither too new nor too glossy. Tricot confirms its flexible nature, with hand-made pullovers, quilted to achieve softness, according to an idea of dressing that allows space for every intention and category.
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