Prêt-à-porter Uomo
Spring/Summer
“The impression, when observing the clothes, is that they have been moulded: ample, structured shapes made in softly draping fabrics stand in contrast to slimmer, body-skimming lines, yet without the constraint of stretch. In a search for naturalness, technological experience is no longer displayed but contributes instead to building concreteness: the solidity of colours and lines, the quality of fabrics. I wanted a Mediterranean breeze to be felt – readable in the accessories, in the deliberate absence of decoration, and in certain attitudes with an almost childlike imprint: such as a collarless shirt worn over blue trousers, or black trousers with an ivory percale shirt”.
Gianfranco Ferré
1997
In stone-coloured hues, timeless garments take shape: the formal suit, so soft it is worn like leisurewear; the sporty suit, so close to the body as to become almost a uniform; shirts with canonical cuts.
The waist is naturally defined; the shoulder rounded in a clear, elementary and clean design. A sense of lightness extends even to leather garments, where genuine and faux anaconda are mixed in a slightly alchemical process: soft, lightweight leathers.
For everyday living, for the different situations to be negotiated day by day, a new Gianfranco Ferré Jeans project is introduced. A complex project, made possible only by technology, which gives substance to imagination. Thus the fabrics and colours of formalwear are translated into the ease of denim style: washed gabardine bomber jackets finished like tailored jackets; nylon and viscose jeans with iridescent effects; garments in paper-like materials, similar to bread-bag wrapping, meant to crease and crumple.
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Prêt-à-porter Uomo
Fall/Winter
“There is, in men, a tendency that grows and strengthens according to a logic of continuity. A need and a will to know oneself, to evaluate and to study oneself, pushing as far as narcissism – understood as individuality and absolute self-awareness, of one’s own being and one’s own body. It is the desire to break every scheme and, at the same time, appropriate for it. With complete freedom, one draws from the vast heritage of history, choosing pieces belonging to all cultures, from uniforms to dress codes”.
Gianfranco Ferré
1997
Comfort. Every garment is intentionally and deliberately comfortable, even when the shapes are very close to the body, achieved through modern modelling with a sartorial origin. Logic. In the intention. Colours belong to the origin and tradition of the garment and of the material. Quality. Sublimated by the cut. Full-bodied alpaca that can be used without internal structuring; double flannels with the substance of cloth; wools and cottons bonded, doubled and teased until they become a single new fabric for soft, warm coats. Effects. Flannels, grisailles and pinstripes have a soft, velvety, almost silky hand. Faux brocades for shirts, obtained through the superimposition of electronic embroideries. A dense, soft, warm appearance: everything seems heavy, yet conceals a light soul. Freedom. Style does not need to be formal to express elegance, nor informal to soften it. Daytime finds itself at ease in the evening; what changes are attitudes and modes of behaviour. Silhouette. Elongated, in black, blue and grey, with pardessus that reach the ground. Long jackets, close to the body, worn with an almost military-uniform attitude. Jeans. In cotton and viscose velvet, triple-dyed for an iridescent effect and a soft, lived-in handle. As always, unusual. Unusual like Gianfranco Ferré Jeans.
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