Prêt-à-porter Donna
Spring/Summer
“There is much tranquillity, much inner calm in this collection, much culture in the sense of an acquired demeanour. For aggressiveness, the need for self-assertion, programmed nonchalance belong to the past – slowly ground down and absorbed only in the measure felt necessary. Today, instead, a sense of quiet and simplicity resurfaces, translating into comfort for the sake of comfort, into the spontaneous choice of whatever one likes, whether the hog skin embroidered espadrille or the sculptural pump that mixes a wedge with a heel. Nothing is unnatural or artificial… it is the moment to choose freely and naturally”.
Gianfranco Ferré
1985
And so, slim jackets, shorter at the back and longer in front, for a vertical, elusive effect; soft, comfortable, ample trousers with pockets cut into the pleats; gigantic skirts to knot at the waist and let fall in a central pleat; jackets relying on the spontaneity of a knot that gathers fullness – taut in front, blousing at the back.
Materials and colours: swirling prints with concentric motifs; wool-and-silk terry; “starched” cotton gauze; Flanders linen; double yarn-dyed silk; wide-weave linen borrowed from menswear – following two tastes, opposite yet not conflicting: soft, spent fabrics; brisk, rustling fabrics.
Colours dense and matte, such as blue combined with brown and black. Energetic colours of Tibetan bonzes, yellow and orange. Spiritual colours: total white, relative white and sandy hues.
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Prêt-à-porter Donna
Fall/Winter
“I have sought decoration… not a gratuitous, useless addition, not mannered baroquism, but the sign of an evolution in which there is room for new volumes and a new physicality. A different attitude, in short, one that does not limit itself to the functional, the practical, the useful, but instead confronts this forbidden idea, this shadowed zone of decoration. Which I interpreted by exaggerating certain elementary schemes and certain volumes”.
Gianfranco Ferré
1985
The sports jacket with drawstring and the bush jacket are enlarged; the pullover is simplified into a scarf wrapped round bust and arms; opposing lines and aspects are brought together – yet able to coexist – as in certain Eastern cultures that blend essentiality with the manifold delight of forms.
Colour too responds to this decorative concept: grey – the new neutral – developed in denser shades, with a significant plastic quality, becoming the backdrop to a range of pure tones. Red, turquoise, violet, yellow: the colours of urban signage, of the industrial city, and paradoxically the noblest colours, those of great tradition; the colours of mandarins and Japanese emperors.
The materials: mongolia, marocain, buffalo, melton, elk, pressed facecloth, velour, jersey knit with fabric stitch, lacquered sheepskin, waterproof taffeta lined in wolf, velvet printed like broadtail.
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