Delpozo was founded in 1974 in Madrid, by the expert hands of the Spanish designer Jesús del Pozo. After forty years of success, following the death of the founder in 2011, the brand was acquired by Grupo Perfumes y Diseño. The brand becomes the spokesman of craftsmanship and artistic tradition in the fashion world.
The Delpozo Style
Being a voice out of the chorus has made Delpozo a brand with an immediately recognizable image. The delicacy and charm of the famous Spanish fashion house made fall in love with the American first lady Melania Trump who, on several occasions (such as the official visit to Seoul), wore Delpozo garments.
The company’s couture techniques, consolidated over time, have an incredible modern sensibility. The house of prêt-à-couture is dressed in contrasting elements: traditional and modern, architectural elements, but also organic. Delpozo always has a creative approach to volume, color and silhouette; artisanal techniques and complex embroideries are present in all collections.
In 2018 the philosophy of the Maison is “less is more”, to echo the architectural style of its style. Delpozo juggles between balance in proportions and never shameless elegance, creating timeless pieces.
The Delpozo collections are made in Spain, in small ateliers. The pieces are so intricate and detailed that they need to be made by ateliers who know the art of craftsmanship. However, the shoes are produced in Italy.
Delpozo fabrics are always natural: organza, poplin, silk tulle, double wool crepe, with some combinations with more modern fabrics like PVC and crinoline. The collections, all very colorful, are filled with nuances.
The handmade embroidery is masterfully created with the most refined and avant-garde materials, using techniques from both the Haute Couture and the Ecole Lesage in Paris. The skilled craftsmanship and intricate details applied are consistent with the prêt-à-couture philosophy of Delpozo.
Creative Director: Josep Font
Font was appointed Creative Director of Delpozo in 2012. Trained as an architect, he began his career presenting collections in Barcelona, Madrid, Tokyo and Paris. He showed his couture collections in Paris as a guest member of the Chambre Syndicale de la Haute Couture.
A little more than five years after his appointment, Josep has achieved a great success: he has succeeded in relaunching the brand with an international focus. Inspired by the couturier Pedro Rodriguez, the original designer of Santa Perpetua de Mogoda, puts the attention in the craftsmanship, while maintaining a modern twist. Given its formation, the creations of the designer are inspired by organic architecture (in the shapes or in the floral details), art and nature. These three elements always return to the collections, season after season. Art in the form of dance like ballet, as well.
London Fashion Week 2018
After five years of successes during the New York Fashion Week, Delpozo makes his debut in London with a show that describes the authenticity of the brand.
The stylist Josep Font focuses attention on the delicacy of pastel colors that sweeten a minimalist silhouette. The rose celebrates top over with maxi bow or, more simply, long evening dress with luminescent details on the shoulders.
The fall / winter 2018-19 collection plays on prints like the pied-de-poule cape, polka dot pullovers or floral prints. The look, moreover, is united by a stylized corolla in life that emphasizes the contained volumes of silk and tulle dresses and tailored suits with an asymmetrical cut. The collection expresses the glamor of a maison that focuses on luxury but discreetly, praising the purism of the lines and the quality of the garments.
Marco Rambaldi, the talented Bolognese designer born in 1990, designs a woman free from preconceptions and constraints, daughter of those 70s and the most sincere Made in Italy.
Marco Rambaldi was born in Bologna in 1990. After graduating in Graphic Design and studies in Product Design, he graduated in 2013 in Fashion Design at the IUAV University of Venice.
His debut took place in Milan on February 2014 and, on that occasion, he won the Next Generation contest sponsored by the Italian National Chamber of Fashion.
In 2017 she is one of the finalists of Who Is On Next?, a fashion scouting project dedicated to young fashion talents, conceived and created by Altaroma in collaboration with Vogue Italia.
“My brand wants to free women from preconceptions, prejudices and stereotypes. He decided in their final intentions, changing in the desire to wear different garments but that enhance the big or small curves that they are, the more or less marked wrinkles. “Marco Rambaldi
Rambaldi starts from here with his stylistic reasoning, but in a post-contemporary key. A changing image, as changing, is the reference woman, staying between new freshness and memories of the past.
“We Also Want Roses”
The cultural and sexual revolutions are the concept of the creative project of the Bologna born, Marco Rambaldi, presented during the AltaRoma edition of January 2018.
The theme of sexual liberation has been debated at night but it is still a taboo. Knowing how to tell through a collection is even more difficult and to do it, you need to have enough sensitivity.
Cropped frames, faded covers and poster fragments: the Rambaldi collection marks the unequivocal seventies aestheticism, underlining it with vibrant prints and colors. The “revolution” of the Fall/Winter 2018-19 line drawn by the stylist highlights the social involution through playful and light items but from the revolutionary aplomb.
The Woman of Marco Rambaldi
On the Fall/Winter 2018-19 catwalk both mature women, like the Valerie transsexual friend, and young models parade: the Rambaldi leaders do not know their age and do not have a defined target.
The sexual liberation of the seventies, source of inspiration for the Fall/Winter Season 2018-19, overturns the taboo of today. Women’s rights, feminist struggles and pornography are the focal themes of the collection. Printed on fabrics, moments set in jacquard, jackets with male cuts, crochet trimmings and tie and dye prints, all to enhance and make the woman free to express herself and always be herself.
Mina, Ornella Vanoni, Anna Oxa, are just some of the divas representing the Rambaldi woman. They are proposals on knitwear, they are the music that accompanied the show and are the muses of femininity and sexual freedom of the 2018 collection.
Made in Italy
The Milanese office is composed of the stylist, the right-hand man Giulia Geromel and Andrea Batilla, a historical fashion journalist. Lately he has joined Rambaldi’s fiancé, Filippo Giuliani, who takes care of the styling. Production remains in Italy, in a town between Milan and Bologna. Above all they are creative Made in Italy, not only for the place where the products are developed, but because the creativity, all the history and the aesthetics behind it is Italian. A sincere Made in Italy.
Gaetano Pollice, who grew up in Guglionesi, is a young designer who, with his bags, becomes the spokesperson of the tradition of Molise and of the made in Italy craftsmanship.
The fashion designer Gaetano Pollice grew up in Guglionesi, a town in the Molise hinterland. He lived and studied in Milan and Bologna, arriving (also for work reasons) up to China, Japan, Russia, Korea, India and the United States.
Despite numerous travels, Gaetano, very tied to the local traditions, has always returned to Italy. And precisely Italy, or rather Molise, with its culture and its flavors, is the protagonist of the designer’s bags. Pollice, therefore, becomes the spokesperson of the Molise tradition through bags that mark the savoir-faire of the artisans who have actively accompanied the brand born in 2015 on the success.
On this resourceful team the stylist says: “I feel like the captain of a boat that goes off and whoever takes it forward is as crazy as me. That madness necessary to risk and to rejoice when finally the dry land is sighted. This boat is called Made in Molise and the Molise artisans and my family all got on board aware of starting an infinite journey. An adventure that every day recognize me as a salvation, because a craftsman today if he can not experience is bored. But we do not even have a moment to get bored; we get our hands dirty every day and with our hands we make these jewels that since 2015 now make us dream. “
The style of Gaetano Pollice
The Tombolo bag is proof of Gaetano’s attachment to his homeland, a fine woman’s handbag whose decoration, in fact, is obtained with the ancient embroidery technique that dates back to the 16th century. In Molise, in fact, there are still women who make these precious embroideries, which weave ivory-colored threads with the help of spindles. A small museum has been founded in Isernia that preserves all the old embroidered canvases in Tombolo.
All the pieces of the collections are created and made in Italy, precisely in Campobasso, in the Made in Molise laboratory. And not just for the production of leather goods: all professionals (graphic designers, photographers, illustrators) were born and live in Molise, which incredibly strengthens the image of the brand. Gaetano says convinced:
“The perfume of Molise must come out all when you open my bag […] Craftsmanship. Creativity. Manuality. Tradition. Passion. Joy. With these words I want to summarize my brand. “
Gaetano Pollice is among the talents selected by Showcase, a new project by AltaRoma and Agenzia Ice in favor of emerging Made in Italy fashion and design. For the occasion, the designer presents “What it is, is Beautiful”, a new collection of Made in Molise bags.
The new collection this time speaks of the sea, of saltiness, of the Molise sea that I love so much and with whom I grew up. Water is life and water gives life. In these years I have made my own a quote, “what it is, is beautiful”, in fact. Whatever we do, whoever we are and whatever we want to achieve, everything will still be beautiful. “Gaetano Pollice
Jellyfish and starfish are the protagonists of the collection. The color palette rotates all around the burgundy, the main color: ink violet, nude, light blue, gold and silver, red.
The brand was born in 2012 from the homonymous designer Marianna Cimini, from the Amalfi coast. The talent of Marianna is immediately recognized by the fashion business, for its ability to merge fashion and art, giving life to a unique vision.
Marianna Cimini is a fashion designer from Campania, who grew up on the Amalfi Coast. She moved very young to Milan to attend the prestigious Istituto Marangoni and her attitude towards fashion was immediately appreciated by several brands. He soon began collaborating with important and established Italian brands including MaxMara, where he designed the MaxMara and Tod’s line for more than three years, where he was responsible for a capsule collection (limited edition) for Fay Donna.
Style of the Brand
In 2012, the designer launched the eponymous brand Marianna Cimini during the Mercedes Benz Fashion Week in Milan, meeting with critical acclaim. Entirely Made in Italy, immediately distinguished by the balance between femininity and actuality. The brand combines love for well-defined lines with simplicity and the functionality of sportswear gives the collections a sporty-chic essence.
Marianna Cimini has a contemporary image that is not without refinement. The collections, in fact, are composed of extreme linearity, occasionally distorted by overlaps and overlapping volumes.
Awards and Recognitions
Marianna Cimini has a career full of awards. Among his successes, the victory at the Premio Moda Italia sponsored by the CNA and a special mention of the Next Generation competition organized by the CNMI. She was also a finalist in the Muuse for Vogue Talents for the Young Vision Awards. In 2014 has the opportunity to show for the first time in Rome, on the occasion of the tenth edition of Who is on Next? – competition organized by Vogue Italia and AltaRoma. Several times reported by Vogue, in September of the same year is included by Vogue Talents among the best 200 emerging designers.
Fashion and Art Come Together
The autumn / winter 2018-19 collection, presented at Altaroma, is inspired by “La femme à l’ombrelle” by Claude Monet. The collection turns out to be a sort of play on the reverse, a bit like the painting, one of the most representative paintings of Impressionism, but already so vivid of the imminent modernity.
The stylist, always fascinated by the painter with strong contrasts, reasons on the ambivalence of Monet, both in the composition and in the color palette. There are two levels of reading, one romantically evanescent but readable in the female figure – in the white of her dress and in the blue of the sky – the other dark and disordered, tending to grasp the unknownity of modernity through the nervous brush stroke of the lawn shaken by the wind. Two similar but opposite souls merge to recreate a new, different one, interpreted by Marianna Cimini with an idea of New Romanticism.
The looks presented in the fashion show, without following chromatic balances, followed the “chaos” of opposites of the generative act, as well as the musical choices that accompanied them. The silhouettes are aimed at recreating these contrasts and their contradictions, overlapping shoulder pieces from the masculine cut to the more romantically soft lines of the long and mini dresses, generating new volumes. Then there are the technical fabrics such as nylon, faux fur and eco-leather combined with silks, decisive colors illuminated by sequins and the most delicate colors such as sage green as a background for the macro-floral prints or the soft knit azure lit by lurex.
With the Fall/Winter Collection 2018-2019 Marianna Cimini offers her personal interpretation of a new woman, emancipated, at ease with herself in any context and at any age.
“Each garment is intended to be worn at any occasion or time of day. A simple trouser suit with a masculine cut can be transformed, with the addition of an accessory like a knit collar, into a refined glamorous outfit for a sudden dinner. The silk dresses, but with sporty lines, can be used to satisfy every need simply by playing on accessories or on jewels.” Marianna Cimini
The Cimini Woman
The Fall/Winter 2018-19 collection connotes a pleasant romanticism that sometimes contrasts with the highly contemporary line of the garments. These proposals are aimed at a woman who fully lives her contemporaneity, able to exploit the inherent creative ability, properly feminine, to face the challenges and rhythms that modern times impose.
That of Marianna Cimini is a woman who does not withdraw from the unexpected, is imaginative and ironic and this allows her to be impeccable and at ease always.
With a refined but not rigorous presence, it is elegant and contemporary: freshness and lightness of lines and prints for a sophisticated charm. The colors, powerful, are combined with contrast, according to the style that Marianna defines “metropolitan graphics”, minimalist graphicism that smells of Mediterranean boldness.
“My collection, like the others that preceded it, is aimed at interpreting a decisive and dynamic woman who does not renounce her femininity in its most romantic but not necessarily mawkish meaning, or her intimate fragility that is not to be understood as a synonym of weakness. If I had to translate into a message what I pursue with my vision, I would say that it is to show with pride every little facet of one’s being a woman, without conditioning.” Marianna Cimini
Simone Rocha was born in Dublin in 1986. She is the daughter of John Rocha, an Irish designer of Cino-Portuguese origin, elected Commander of the Order of the British Empire for her contribution in the fashion industry of her country.
Simone Rocha takes her first steps in the fashion world in her father’s atelier, initially opposed to his daughter’s choice to follow in his footsteps. At the age of eleven, Simone begins to become familiar with the secrets of tailoring; at fourteen he becomes an assistant and at only seventeen he already works closely with his parents.
It is John himself, after his daughter’s insistence, to invite her to study in the prestigious Central Saint Martin College of Art and Design in London, where he taught Louise Wilson.
First Steps in the Fashion World
In 2012, just two years after graduation, Simone Rocha made her debut with her first collection during London Fashion Week.
In 2014 he signed an agreement with the US label J Brand, for which he designed fourteen items in jeans with a romantic allure, united by details in ruffles.
Awards and Recognitions
In 2013 she was awarded at the British Fashion Awards as an Emerging Talent in ready-to-wear and in 2014 she received the “The New Establishment Award”, a prize organized by the British Fashion Council.
More recently, during the 2016 Fashion Awards, he received the British Womenswear Designer Award and the Harper Bazaar Designer of Year Award 2016. Simone’s Style His fashion brand enters the most influential boutiques in the world: 10 Corso Como in Milan, Dower Street Market, Colette in Paris, Ikram in Chicago, Browns, Seoul and Shanghai. In February 2017, he opened his first store in New York, in the popular Soho district. It was the same designer who decorated the interior of the store, introducing works by Robert Rauschenberg, Louise Bourgeoise and Ren Ri.
The basics of his style caress the feminine romance of the Victorian era forged by lace and pearls. Her creativity is stimulated by the couturier of the past as Christian Dior or more current as Rei Kawakubo – founder of Comme des Garçons – and the same John Rocha, defined by her as “her legacy”.
In his creative visions also the Irish landscapes flare, translated, later, into weaves embroidered on fabrics that recall stories from a bygone era. Just like the Fall / Winter 2016-17 collection presented at the Lancaster House in London which saw the triumph of embroidery on unstructured garments.
Simone loves playing with classicism, re-adapting it in a modern way; the volumes adopted reverberate over the years between the end of the 19th century and the beginning of the 20th century, exasperating them with embossing and strategic ruffles. The aestheticism of the Irish designer also explores the world of tailoring with dubbed garments, with internal and external stitching, to exaggerate the over-sized volumes of her dresses.
The 2018 spring / summer collection, structured with a generous, impalpable silhouette, tells of a multifaceted, sensual, gentle but most likely sensual femininity. The collection, in September 2017, was exhibited at the Middle Temple in London.
Alexander Wang (San Francisco, 26 December 1980) is an American designer of Taiwanese origin. He has had a passion for fashion since adolescence. Alexander Wang followed the call of fashion, left his family (who has always supported him in every choice) and moved to New York.
In the Big Apple he studied at Parsons School, a prestigious school of art and design. This academic path did not fully satisfy him, considering that, after a year of studies, he understands that design is learned in the field.
The success of Alexander Wang was supported by the Council of Fashion Designers of America for a recognition linked to the womenswear line (2007) which earned him a prize of $200,000. In the awards box, the designer also boasts the Winner Fashion Fund Award organized by Vogue America magazine.
Wang is credited for creating the anti-conformist fashion. In his collections, individualism has been almost completely annulled, opening the gap for gender fashion. Basic items are supported by fine yarns like cashmere, sometimes mixed with cotton and linen. The color palette is certainly not generous in shades.
“I have never believed in innovation as an end in itself, I prefer to think about what modernity means today. I also searched the word on the dictionary to be really precise: it is modern what you have before you, what you live, your reality, and I reproduce what I see “. Alexander Wang
His “fashion design”, always unique, allows him to sit on Balenciaga’s ambitious armchair, taking on the role of creative director after his farewell to Nicolas Ghesquière’s house in December 2012. After three years of association, he gives way to Demna Gvasalia.
It is with brands like H & M and Adidas that manages to conquer a good market share. For the low cost fashion chain, Alexander created a capsule collection linked to sportswear fashion. However, for Adidas Original, he revised the aesthetic codes of the brand, turning the historical logo of the company by 180 degrees.
The Gianfranco Ferré Foundation was established in February 2008 with the aim of preserving, organizing and making available to the public – first and foremost in digital archive form – the patrimony of materials that document the designer’s professional activity. It also has the goal of promoting, pursuing and carrying out projects that relate to the Gianfranco Ferré philosophy and culture of design, to the maestro’s unique idea of fashion and exquisite aesthetic sensitivity.
The Foundation’s first objective is the creation of an archive/museum that houses everything saved and kept during the span of Gianfranco Ferré’s career. This task entails making an inventory of many different types of materials: photographs, sketches and drawings, film and video footage, press reviews, magazines, press releases, as well as the architect-designer’s own writings (talks, lectures, notes). All then go into the databank for easy access both on site and via web.
The database, which is continually being updated and added to, presently contains more than 80,000 items. They are organized on the basis of a straightforward and capillary system, specifically in terms of both subject matter and chronological.
The creation of an archive of this nature offers people from various domains of life the chance to examine and experience Gianfranco Ferré’s fashion work in an effective and hands-on way. Students, scholars, professionals – anyone with a concrete connection to and/or interest in the fields of modern fashion and pure design – may want to take advantage of this valuable opportunity.
The existence of a similar archive facilitates a wide range of initiatives: publication of books on specific subjetcs, organization of exhibitions, educational activities for young people, promotion of in-depth study programs in cooperation with universities and other educational institutions, hosting of talks, on-site visits, as well as participation in conferences or events and meetings focused on topics connected to Gianfranco Ferré’s work and/or, more in general, to contemporary fashion and aesthetics.
The Foundation is responsible for the care and management of the vestimentary archive, which includes about 3,000 pieces of clothing and accessories from the Gianfranco Ferré Women’s, Men’s and Haute Couture’s collections.
The Gianfranco Ferré Foundation Headquarters
Sunlight streaming through floor-to-ceiling windows: this may be what strikes us most upon entering the headquarters of the Gianfranco Ferré Foundation located at the “Tortona 37” complex in the heart of Milan’s new fashion and design district.
The 600-sqm split-level office features a ground floor plus two ample intermediate ones where all in all a primarily rational use of space meets a distinct sense of elegance and refinement. Centering on the idea of multi functionality, the headquarters are divided in work and archive areas, as well as in conference and lecture rooms able to accommodate the exhibition of clothes and accessories.
There are also workstations where the general public may access (both hands-on and by computer) the Foundation’s remarkable patrimony of drawings, photographs, videos, texts – complete with vast library containing decades of major fashion, design and lifestyle magazines from around the globe.
The configuration and aesthetic definition of the headquarters award the Foundation a genuine Ferré feel. This comes through in various aspects, from the clean and clearly architectonic volumes, impressively high ceilings, all the way to the specific chromatic attributes: floors made from matte black resin, white walls offset by lacquer red parts, surfaces lined with sheet iron. As for the actual furnishings, they include large bookcases in white lacquered wood framed by durmast oak support elements, plus tables and capacious chests of drawers in bronzetone metal with black frosted glass top.
The interior décor is the work of Architect Franco Raggi, university classmate and close friend of Gianfranco Ferré. He is the same architect who cooperated with Ferré in designing other of the fashion maestro’s offices, the headquarters on Via Pontaccio in particular.
Many other things infuse the place with the Gianfranco Ferré style and above all with the designer’s rich and complex personality. First and foremost, the pieces he designed himself: the big sheet iron table from his private office, the chaise longue in brown ponyskin, the Biedermeier armchairs with lacquered lizard upholstery…
Reminders of Gianfranco Ferré are everywhere at the Foundation. There are the creations from his many collections, the souvenirs from his global travels, the gifts from friends and assistants well aware of his love of collecting. Examples? The magnificent Chinese brazier-vase in embossed bronze; the Japanese Kendo armor set; a curious nautical meter stick; Grégory Morizeau’s and Fabius Tita’s singular bird figures in recycled industrial materials; the easel with Ferré ever since his early days on Via Conservatorio. Not to mention all the minor/major objects studding and making special the designer’s diverse work and home surroundings: hats and helmets from all periods of history and corners of the globe, bracelets (some authentic pieces of sculpture), works of art by personal friends and artists (among others, the pinewood “profile” by Ceroli). And then contemporary design items such as the art work by Urano Palma and the chairs, from the “Harp Chair” by Jorgen Hovelskow to the ones by Tom Dixon and Ron Arad until Franco Raggi’s own signature “Metamorfosi 3” chaise longue.
“Tortona 37” – where the Ferré Foundation headquarters are located – is a mixed-use architectural complex designed by Matteo Thun. It consists of five buildings arranged around a garden-courtyard with trees in the center. The project is part of a major low-environmental impact urban revitalization process featuring the use of energy-saving technologies (geothermal air conditioning, radiant panel heating) and the accurate definition of the exterior walls.
Interior design Franco Raggi, with the collaboration of Karim Contarino
Lighting: XAL. Xenon Architectural Lighting
Systems furniture ZEUS
Treated metal surfaces AMIMETAL
February 1, 2014 – June 15, 2014: “La camicia bianca secondo me” – Museo del Tessuto, Prato
“The White Shirt According To Me. Gianfranco Ferré” exhibition was devoted to one of the great fashion talents of the modern age. Ideated to focus attention on the designer’s exquisite sartorial poetics, this exhibition co-organized by the Prato Textile Museum Foundation and the Gianfranco Ferré Foundation and curated by Daniela Degl’Innocenti guides the visitor on a unique journey of discovery. Point of arrival: a deep understanding of the white shirt, true paradigm of the Ferré style, thanks to an itinerary that on multiple levels highlights a vision remarkably rich in innovative design elements and enthralling creative interpretations.
A constant presence throughout his career, the white shirt became for the designer in the “lexicon of contemporary elegance” a supreme “hallmark” of his style.
Aiming to give force to the figurative languages intrinsic to Ferré’s imaginative rethinking of the shirt, the exhibition plays evocatively with an impressive array of corollary materials: sketches and drawings, technical details, photographs, advertising and editorial images, videos and installations.
The itinerary begins with a system of hanging fabric screens across which flash giant reproductions of autographed Ferré fashion drawings. All perfect expressions of his creative vision, they serve to introduce the visitor to the universe immanent to every distinct design project.
The initial room reveals principles of construction and novel architectural elements through large photographic installations (unprecedented x-ray simulations) that offer a fascinating poetic/tech slant on a selection of shirts, reasserting for each the structural shape and material substance by heightening the impact of layers and textures.
The airy lightness of this immensely engaging language derives from technical research conducted jointly with the Workshop of Semi-Precious Stones in Florence and then brought to fruition by Florentine photographer Leonardo Salvini. Here it marks the first time a similar photographic expressiveness adds interpretative depth to a fashion exhibition.
Next comes the fulcrum of the exhibition. There they are, in the center of the main room: twenty-seven white shirts, a stunning sequence of sartorial masterpieces, bearing silent witness to twenty years of absolutely ingenious and peerless creativity.
In chronological order, the shirts are keenly swathed in light so that they may assume varying tones of brilliant whiteness and find in shadow areas the ideal counterpoint for capturing a plastic effect. Sculpture style.
Taffeta, crepe de chine, organza, satin, tulle, cottons and silks, mechanical embroidery and lace, hand stitching, components macro and micro interact in a magnificent crescendo of virtuosity and equilibrium.
Accompanying the shirts are many pertinent materials on loan from the Ferré Foundation Archive. Arranged along the sides of the room, they include technical drawings, catwalk exit sketches, advertising and editorial images, shots by world-class photographers. The original drawings are particularly interesting, for they illustrate the designer’s amazing ability to define the primogenital idea behind each creation – silhouettes, volumes, details, fabric weights and textures – in a few sharp lines. Quick, sure, succinct. Flawless.
In the final part of the exhibition a captivating presentation of video footage from the most important fashion shows (1978 to 2007) makes the shirts on display come alive. Namely, in the studied gestures and elegant motions of the runway models the shirts embody once again the pure sensibility, elegance and refinement emblematic of Gianfranco Ferré’s poetic universe.
The exhibition catalog, a Skira publication under the masterly art direction of Luca Stoppini, so entailing an inventive use of fresh shots of the shirts, is an outstanding book that opens with greetings from Andrea Cavicchi and Alberto Ferré, respective presidents of the two Foundations.
Immediately following is an explanation of the motivations behind the exhibition, written by Filippo Guarini and Rita Airaghi. Subsequently the catalog discusses the exhibition’s themes through both an introductory essay by Daniela Degl’Innocenti and a series of articles where major figures from the realms of style, architecture and design, Quirino Conti, Anna Maria Castro, Margherita Palli, Daniela Puppa, Franco Raggi, talk in depth about the creative vision of the great architect of Italian fashion. Alessandra Arezzi Boza’s thoughts on the meaning of heritage in Ferré Foundation activities, plus some words on the Prato Textile Museum and its history, conclude the book.
From February to June “The White Shirt According To Me. Gianfranco Ferré” will also feature an exciting calendar of exhibition-inspired events and collateral activities, as well as didactic programs expressly for fashion students and/or for students from schools in the spheres of design, architecture and applied arts.
Students will have the opportunity to explore the exhibition contents thanks also to special multimedia tools and to workshops on Ferré’s extraordinary design vision and methodology. The latter will involve a profound analysis of key elements of his style.
In addition to all types of practical info and exhaustive press kits, detailed information on these various events, activities and programs will be available at ferre.museodeltessuto.it, official website for the exhibition complete with dedicated social network links.
March 10, 2015 – April 4, 2015: “La camicia bianca secondo me. Gianfranco Ferré” – Palazzo Reale, Sala delle Cariatidi, Milano
“Talking about my white blouse is all too easy. It’s all too easy to declare a love that covers the span of my creative path. A hallmark – perhaps the ultimate signature – of my style, which enfolds a constant pursuit of innovation and a no less unfailing love of tradition.
A combination of tradition and innovation is what originally triggered the Ferré white shirt, set the story in motion. Tradition in the form of the men’s shirt, ever-present and encoded element of the wardrobe. Which tickled my fancy for invention, incited my propensity for rethinking the tenets of elegance and style in an interplay of pure fantasy and contemporary design. Read with sense of glamour and poetry, freedom and energy, the formal and quasi-immutable white shirt took on an infinity of identities, a multiplicity of inflections. To the point of becoming, I believe, a must of modern-day femininity…
In the lexicon of contemporary elegance, I like to think that the white blouse is a universal term every woman can ‘pronounce’ the way she prefers…”
This process always entails a keen rethinking of shapes. The white blouse is never the same yet always unmistakable. It may be light and floaty, flawlessly severe (if the mannish cut remains), as sumptuously enveloping as a cloud, as skinny and snug as a bodysuit. Some parts, primarily collar and cuffs, can become emphatic; others expressly lose ‘force’ and may even disppear (back, shoulders, sleeves). It billows delicately with every motion, almost free of gravity.
It frames the face like a fabulous corolla. It sculpts the body in a slick second-skin mode. It is the eclectic interpreter of all types of materials: sheer organza, crisp taffeta, glossy satin, duchesse, poplin, chiffon, georgette, too…” – From the notes of Gianfranco Ferré
The exhibition, promoted by the City of Milan, Department for Work Policy, Fashion and Design and Department for Culture, is organized and produced by Palazzo Reale and the Gianfranco Ferré Foundation jointly with the Prato Textile Museum. It is edited by Daniela Degl’Innocenti and devoted to the talent of one of the most illustrious names of the international fashion of the late 20th and early 21st centuries.
“The exhibition is a tribute of the city to a great player of the Italian fashion and his unique style, which has always been far away from excesses, connecting creativity to precise and firm references in forms, materials and colors”, so the Councillor for Work Policy, Fashion and Design, Cristina Tajani, who continues: “An exhibition useful especially to the many young people who are taking their first steps in the fashion world and can learn a real lesson in style and creativity in order to continue the great tradition of the Made in Italy”.
“Hosting this exhibition, Milan pays tribute to one of the symbol designers of the Italian and Milanese fashion: Gianfranco Ferré”, declares the Culture Councillor Filippo Del Corno, who underlines: “In the gorgeous Sala delle Cariatidi of the Palazzo Reale, the exhibition with a plenty of preparatory drawings, sketches, photographs, sartorial looks is focused on the white shirt, a proper icon of the Ferré’s style. An exhibition devoted to a great master of fashion, who right in Milan has developed the creativity and talent that made his style famous throughout the world”.
Conceived to showcase the creative and sartorial poetics of Gianfranco Ferré’s work, the exhibition uses various art forms to guide the visitor on a discovery of the white shirt – authentic paradigm of his style – highlighting the most innovative design elements and deeply fascinating interpretations. A constant presence and major theme throughout Ferré’s career, the white shirt became for the designer a “hallmark of my style” and a “contemporary lexicon of elegance”.
The shirt is element of continuity and item elected to an icon of style, design culture and creativity of Gianfranco Ferré, “architect of fashion” and undisputed protagonist of Made in Italy. On this garment the author focuses the aptitude to transform and innovate the language and aesthetics of fashion.
Aiming to give force to the different figurative languages inherent to Ferré’s work in examining, taking apart and rethinking the shirt, the exhibition itinerary at once plays with suggestions and the valorization of different elements, making the most of various materials as a corollary to the creations put stunningly on a manikin. They include drawings, technical details, sketches, photographs, advertising and editorial images and installations. The focus is on twenty-seven shirts – an army of sartorial masterpieces that exemplify about twenty years of Ferré’s creative (Ready to Wear collections 1982-2006).
Setting the exhibition in motion is an initial passageway where giant images of Ferré’s autographed drawings are projected onto swathes of tulle. This enables the visitor to grasp instances of his remarkable creative vision while getting a first hint of the shirts on display.
The main section of the exhibition is in the great Sala delle Cariatidi, dominated by the shirts as sculptures bathed in light. The idea is to bring out the full beauty of the shades of white, the interplay of light and shadow, thereby attaining an evocative plastic effect. Taffeta, crêpe de chine, organza, satin, tulle, cottons and silks, mechanical embroidery, lace, hand stitching, macro and micro decors follow one another in a crescendo of pure mastery and counterpoise.
Along the sides of the hall various materials from the Ferré Foundation Archives are displayed. The original drawings spark particular interest, for they illustrate the designer’s amazing ability to synthesize all the elements intrinsic to creating every shirt – silhouettes, volumes, detailing, fabric weight and texture – which he describes in his distinctive, elegant script.
On the ceiling there is a series of exquisitely oneiric images. They are photographic projections (x ray simulations) which capture the shirts from an eloquenty technical perspective, recreating each one’s structural and physical framework while clearly showing layers and textures, yet above all imbuing the designs with a unique delicacy and a poetic lightness.
Completing the itinerary, the images shot by Luca Stoppini underscore again how a sense of levity and transparency are a key to understanding the whole project.
Published by Skira, a catalog under the artistic direction of Luca Stoppini, accompanies the exhibition. The book explores diverse topics of relevance, starting with an introductory essay by Daniela Degl’Innocenti and then proceeding with thought-provoking contributions by prominent figures in the realms of Italian style, fashion and architecture. One by one, Quirino Conti, Anna Maria Stillo Castro, Margherita Palli, Daniela Puppa and Franco Raggi offer valuable insights into the creative vision of the great architect of fashion. A piece by Alessandra Arezzi Boza on the meaning of the heritage concept in the Gianfranco Ferré Foundation activities concludes the catalog.
November 4, 2015 – March 6, 2016: “The white shirt according to me. Gianfranco Ferré” – Phoenix Art Museum, Steele Gallery
“Ferré was part of a pivotal generation of Italian designers that included Gianni Versace and Giorgio Armani. Their designs solidified the importance of Italian fashion internationally during the late 1970s. We are excited to bring Ferre’s vision and history to the Valley directly from the archives in Milan.” – Dennita Sewell, Curator of Fashion Design, Phoenix Art Museum.
From next November 4 to March 6 2016 the Phoenix Art Museum in Arizona, the most prestigious institution of the entire South West of the United States which celebrates its fifty anniversary of activity, will host in the Steel Gallery the exhibition dedicated to the Gianfranco Ferré’s iconic garment, conceived in cooperation with the Museo del Tessuto di Prato and already presented last March in Milan’s Palazzo Reale.
At the same time, a different area of the space, the Ellman Fashion Design Gallery, will be the setting for a story of the creative journey of Gianfranco Ferré : this exhibition brings together images and more than 100 sketches, both illustrative and technical along with examples of how the sketches are translated into three-dimensional garments, exposed on mannequins, from the Haute Couture and Ready to Wear collections.
November 4, 2015 – March 6, 2016: Gianfranco Ferré Designs” – Phoenix Art Museum, Ellman Gallery
A companion exhibition, Gianfranco Ferré Designs, will also be on view in Phoenix Art Museum’s Ellman Fashion Design Gallery. This complementary exhibit features over 100 of Ferré’s illustration and photographs paired with 8 striking ensembles that exemplify Gianfranco Ferré’s iconic design style. Visitors will have the rare opportunity to explore a world renowned designer’s creative process from concept to sketch to finished product.
August 30, 2016 – January 15, 2017: “Gianfranco Ferré e Maria Luigia: Inattese assonanze” – Palazzo del Governatore, Parma
It is an honor that the Gianfranco Ferré style plays a starring role in a singularly important exhibition part of the bicentennial celebrations marking the arrival in Parma of Austrian archduchess Marie Louise of the House of Hapsburg-Lorraine, former Empress of the French who became the Duchess of Parma, Piacenza and Guastalla. Gianfranco Ferré always had a deep appreciation for and interest in women of power: great women in history, from Maria Theresa of Austria to Catherine of Russia, from Elizabeth the Great to Christina of Sweden. Surely, the “Good Duchess” — as long ago her adoring subjects and now the ever-reverent citizens of Parma called/call her — enjoys a solid place among the female characters who so keenly sparked the designer’s fancy during his lifetime.
Nevertheless, it would be misleading to say that Marie Louise numbered specifically among the women who populated Gianfranco Ferré’s ideal landscape. His collections make continual reference to the fashions of past eras, therefore also to the Empire Style. But that in no way explains the presence of Ferré’s designs on display in Parma. The actual reasons and respective dynamics are of quite a different nature. In particular, they reflect the logic that the Gianfranco Ferré Foundation follows in managing the full scope of the designer’s creative legacy, starting with the magnificent fashions which in addition to attentive conservation and cultural diffusion are a constant object of study, research and interpretative scrutiny.
The analysis of this patrimony, multifaceted and heterogeneous as to both contents and inspirations/influences, enables the Foundation to deal with it according to a flexible, subtly unfolding logic. Thanks to which it’s not impossible (on the contrary, proves very natural) to draw from what Ferré created ever new and different impressions able to surprise and often amaze even people who witnessed the birth, growth and development of the Ferré universe.
Along with the sensibilities we have acquired over the years, working every day with the clothes and relative documentary materials affords us the ability to keep discovering unexpected contents — or, more pertinently, unexpected ways of evaluating and valorizing them. They are contents which, not uncommonly, have lain hidden in the cracks of a fabulously rich aesthetic horizon where, by contrast, other more evident and immediate elements have predominated.
With this quietly in mind, the Foundation made every effort to divine assonances with the world of Marie Louise of Parma, her tastes and passions. They are assonances we enjoy defining unexpected. Also, a keen sense of analysis and a propensity for research enfold the distinct use of philological methodologies and the clear aspiration for unusual perspectives equally intrinsic to the message behind the Gianfranco Ferré style.
We are talking about a woman who grew up according to the strict yet substantially bourgeois principles of the royal court of Vienna, not at all taught how to govern a vast territory. All the same, the “Good Duchess” — more out of feminine pragmatism than due to political training — turned her duchy into a happy place during the darkest years of the Restoration period. An enlightened woman, she also took an interest in social matters, so introducing Parma and surrounding areas to a new era and to the world.
Essentially, this is another reason why the at once methodological and imaginative process of discovering in the designer’s collections probable liaisons with Marie Louise’s tastes and passions came easily to the Foundation.
We loved thinking of her as a contemporary figure. Better still, we loved discerning the virtual points of contact between her and the Gianfranco Ferré style. All very much in the spirit of today. – Rita Airagi, Director of the Gianfranco Ferré Foundation
About the exhibition:
The pure fashion genius of Gianfranco Ferré and the photographic artistry of Michel Comte identify, respectively, two exhibitions part of the bicentennial celebrations marking the arrival in Parma, of Marie Louise of the House of Hapsburg-Lorraine, Austrian archduchess who ruled as Empress of the French as the Duchess of Parma, Piacenza and Guastalla.
“Ferre and Comte DETTAGLI. Two Great Fashion/Art Expressionists Delve Into Details” — a project ideated by Alberto Nodolini and produced by Ankamoki — will grace the halls of the first and second floors of Palazzo del Governatore in Parma from September 30, 2016 to January 15, 2017.
The first floor will host “Gianfranco Ferré and Marie Louise: Unexpected Assonances”, an exhibit curated by Gloria Bianchini and Alberto Nodolini in collaborations with the Gianfranco Ferré Foundation, while the second will exclusively feature Michel Comte’s installations in the “Neoclassic” show curated by Jens Remes in collaboration with Alberto Nodolini and Anna Tavani.
April 21, 2017 – June 18, 2017: “Gianfranco Ferré. Moda, un racconto nei disegni” – Centro Culturale Santa Maria della Pietà, Cremona
The why and wherefore of an exhibition on Gianfranco Ferré’s drawings
“For me drawing means jotting down on paper a spontaneous idea which I can then analyze, check, verify and finetune,reducing the basics to precise concise lines set on diagonals and parallels within geometric shapes and figures… as both a fashion designer and an architect I see fashion as a form of design…” (Gianfranco Ferré)
Gianfranco Ferré takes his method from his study of architecture, an art which pivots on and ensues from drawing, finds in drawing its means for giving shape to ideas, substance to distinct insights, a way to “set impressions down concretely in sketch form”; as such, drawing becomes “necessity and passion all in one, both arrival point in the dimension of reality and starting point for a design project.”
Thus the exhibition on Ferré’s drawings aims to retrace an intellectual path, the evolution of an inner world built on study and research, cultural and design synthesis, so that it will continue to play the role of testament and mental stimulus. In this particular context, drawing emerges significantly as an expression of freedom and rigor, creativity and method, yet at the same time a work tool, an everyday exercise, a mode of thought and a concrete approach. Above all, a work method.
Gianfranco Ferré’s drawings encapsulate his entire inner universe, for all while promptly defining the compass points of the human body – shoulders, waist, legs – they also capture the designer’s interests, passions and personality. And this is clear even to people who know little or nothing about fashion.
His constant inventiveness develops into signs on paper, into stunning silhouettes that with a few quick lines in soft-tip pen evoke a dynamic figure, often fixed in place thanks to pencil marks, sparkles and gold glints (possibly using tin foil or glitter dust), or that create images of clothes as splotches of color, calligraphic entanglements, explosive lines, or as the synthesis of a highly textural detail. What’s so striking about Ferré is the utter precision of details even in the simplest of sketches. -Rita Airagi, Director Gianfranco Ferré Foundation
A return to origins, connecting with creativity
Cremona is a magnificent city of music, violins and sound studies. But it is also hub of the territory from which the family of Gianfranco Ferré’s mother came. Now in a synergistic partnership with the municipal administration, the Foundation that bears the designer’s name plays the lead in a major return to roots that brings to the fore the strong affective bond Ferré always had with this corner of Lombardy.
It’s a return consisting of two parts: From April 21 to June 18, 2017, the exhibition “Gianfranco Ferré. Moda, un racconto nei disegni” (Gianfranco Ferré. Fashion, Drawings Tell the Story) presents more than a hundred autographed drawings by the designer. Arranged in groups on the basis of thematic and chromatic affinities, as well as a commonality of graphic elements, they take center stage at the extraordinary Santa Maria della Pietà Cultural Center in Piazza Giovanni XXIII – as ever, an important reference point in Italy for the display of graphic artworks (etchings, drawings, comics).
The exhibition also includes some of the designer’s fashion creations, which here become concrete transpositions in the form of shapes and volumes, materials and techniques, lace and embroidery of the design concepts and poetic impulses that Ferré expressed through his drawings.
On May 18th, in honor of Cremona and her celebrations for the 450th anniversary of the birth of Claudio Monteverdi, father of opera, a lecture on “Gianfranco Ferré. Moda, un racconto nella musica” (Gianfranco Ferré. Fashion, Music Tells the Story) will take place. All about the role soundtracks play during fashion shows, the lecture will focus on how – with the aid of outstanding sound designers – the designer succeeds in creating novel arrangements, bold mixes, surprising sounds of diverse origin. So spotlighting how music is a complementary component of the emotions sparked by clothes.
October 12, 2017 – February 19, 2018: “Gianfranco Ferré. Sotto un’altra luce: Gioielli e Ornamenti” – Palazzo Madama, Sala del Senato, Torino
From October 12, 2017, to February 19, 2018, the stately Hall of the Senate of Palazzo Madama in Turin will set the stage for the exhibition Gianfranco Ferré. Under Another Light: Jewels and Ornaments. Organized and produced jointly by the Gianfranco Ferré Foundation and the Turin Museums Foundation, the exhibition will present a world premiere of 200 jewel objects that cut across the entire creative narrative of the famous Italian fashion designer.
Ferré always had a passion for ornamentation – a passion inseparably linked to his fashion collections and significantly determined by an enthusiastic and often innovative approach never inferior to the one he took in designing clothes. As Francesca Alfano Miglietti, curator of the exhibition, underscores: “Ferré constructs a free zone within a personal realm of reference, elaborating every object in the wake of a system of general classification of concepts that become objects. And so we see lustrous stones, enameled metals, smooth shells, painted woods, Murano glasses, retro ceramics, Swarovski crystals, as well as wood and leather and iron and copper and bronze, follow one another along an enchanted horizon of pins, necklaces, belts, rings, bracelets, bangles. For Ferré the ornament is not the ‘lesser child’ of a precious jewel, but a concept of eternity that must represent the immanence of the present.”
The objects on display, created for fashion shows dating from 1980 to 2007, tell a story that is complementary to the clothing and relative accessories. Yet they are exhibited together with designs where it is precisely the jewel-material that invents and shapes the dress, becoming its substance and soul. In this case too, Gianfranco Ferré’s attention to materials is determinant, an essential part of his research.
The exhibition project – ideated by architect Franco Raggi – plays upon the contrast between the Hall of the Senate of Palazzo Madama, a place of immense architectural value, and the simple minimalist structures in iron and glass of the exhibition set-up. Thus highlighted is the imaginative beauty of the jewels designed by Ferré, which seem to soar in the semi-darkness.
Gianfranco Ferré’s “Jewels”: installation notes
The protagonists are two: on the one hand, the imposing Celebrations Hall in Palazzo Madama with its vertiginous height, masterly proportions and the austere minimalistic beauty that distinguishes the royal Savoy residences.
On the other hand, we have the Gianfranco “jewels”, which we prefer to characterize anthropologically as “ornaments,” and which are rich in material, formal rarities, aesthetic hazards, quotations, and even exotic and microscopic beauty.
A balanced installation between these two excesses that find its characteristic in an orderly series of six iron structures, such as cages in which fragile and strange creatures could be gathered, as body ornaments conceived for limbs, gestures and sinuous feminine curves.
The entire structure of the installation is covered by rust – an extreme exposition of material poverty. In this way, kept in the shade, the installation doesn’t want to be compared with neither the grandeur of the space nor the richness of the ornaments. All the six large structures lie on a technical platform, also a rusty one, that slightly elevates the temporary display of the objects. is also rusty. Gianfranco was fascinated by rust. I don’t know why. – Franco Raggi, Project Creator
Lessons of Fashion
Frisa Maria Luisa (a cura di), Gianfranco Ferré. Lezioni di Moda (Lessons of Fashion), Marsilio, Venezia 2009
Airaghi Rita (a cura di), Gianfranco Ferré Disegni (Drawings), Skira, Milano 2010
From Gianfranco Ferré’s notes: “To me, drawing means throwing a spontaneous idea onto a piece of paper in order to analyze it, check it, assess it, clean it up, stripping the basic elements down to simple, precise lines, grafted onto diagonals and parallels and enclosed in geometrical forms and figures… as a designer and architect I conceive fashion as design…”
And it is from his training as an architect that Gianfranco Ferré draws his method, which finds its fulcrum, its starting point, his way of giving shape to ideas, concreteness to insight, in the drawing itself, “by stopping impressions and giving them an outline of consistency”: hence, the drawing as “necessity and passion together, a point of arrival in the dimension of reality, but at the same time a point of departure for a project.”
The aim of this book of Ferré’s drawings is therefore to piece together his intellectual development, the evolution of an inner world of research, interpretation, cultural and stylistic synthesis, that will survive as proof and as a source of reflection: drawing as the expression of freedom and rigor, creativity and method, but also a working tool, a daily exercise, a mindset, a concrete approach. But mostly a modus operandi.
If, in fact, for Ferré creating an outfit means starting a process of formal construction through the elaboration of simple geometrical forms into complex structures developed into their three dimensionality, the first stage required in this process of elaboration is the “definition” of the forms themselves by means of a bozzetto, a sketch.
Ferré’s relentless inventiveness becomes a sign, in his incredible silhouettes that with just a few strokes of the felt-tip pen bring to mind a dynamic figure, often fixed by the line of a pencil, by glimmers of light and gold rendered with foil or with a sprinkling of tiny diamonds, or create outfits resembling patches of color, the twists and turns of calligraphy, an explosion of lines, or the synthesis of a detail endowed with incredible textural impact. This is what we always find striking about Ferré: that even when the image he draws is just a sketch it reveals the precision of the detail.
His entire universe, then, is condensed in a quick sketch, usually made in pencil: just a few lines, precise, essential, a silhouette set down in its essential points—shoulders, waist, legs—that spread out on the sheet. They may only be a few lines, but the figure is already there.
Another thing that strikes us about Ferré is his ability to perceive things immediately. Not a lifeless outfit on a clothes-hanger but something that’s alive, with animation setting the pace and the movement. Just a few lines that in the very next phase develop according to the geometrical principles of a technical drawing, where the forms and details of an outfit are reduced and analyzed in elementary terms, where the sizes and proportions acquire definite contours, so that everything can be read and understood. Even by those who are not wholly at ease with fashion, but who do know how to appreciate the art of drawing and a mind’s inexhaustible creative capacity.
– Rita Biraghi, Director of the Fondazione Gianfranco Ferré
The White Shirt
Airaghi Rita(a cura di), La camicia bianca secondo me. Gianfranco Ferré, Skira (White Shirt), Milano 2014
The creativity and the stylistic genius of Gianfranco Ferré illustrated through the icon leader of his sartorial poetry: the white shirt.
The exhibition “The white shirt in my opinion. Gianfranco Ferré “and the volume-catalog published by Skira with the artistic direction of Luca Stoppini are the result of the collaboration between the Prato Fabric Museum Foundation and the Gianfranco Ferré Foundation.
Conceived with the intent of highlighting the creative talent and design of the designer, the catalog and the exhibition offer different methods of analysis and reading of the Ferré white shirt, a constant presence that runs like a common thread throughout his career, defined by himself “sign of my style”, or lexicon “contemporary elegance”.
In perfect harmony with the concept of the exhibition, Skira’s book proposes a content articulated in multiple elements that aim at enhancing the white shirt and a vision of Gianfranco Ferré’s design applied to this must, highlighting the most constructive elements innovative and endless, fascinating interpretations.
The content of the catalog: contributions and insights from protagonists of Italian style, fashion and architecture; a compelling sequence of photographic images by Luca Stoppini and one by x-ray simulations by Leonardo Salvini, the result of a technical research developed in collaboration with the Opificio delle Pietre Dure in Florence; drawings and original sketches by Gianfranco Ferré and photos of the catwalk. An integral part of the volume are the 27 cards edited by Daniela Degl’Innocenti, conservator of the Prato Museum.
– Edited by Rita Airagi, artistic direction by Luca Stoppini.
Airaghi Rita (a cura di), Gianfranco Ferré. Sotto un’altra luce: Gioielli e Ornamenti (Jewels), Skira, Milano 2017
This book deals with a particular aspect of Gianfranco Ferré’s creativity and design: the jewel as an object. The intention is to highlight the special attention he has always devoted to it, both in terms of forms and materials and in terms of inspiration, with results that have often been innovative and surprising.
The volume must also be intended as a tribute and recollection of the very beginnings of Ferré’s creative trajectory, which actually started with bijoux and accessories – following an interest spurred by curiosity more than by a firm conviction, by the pleasure of manipulating materials more than by the resolution to become a fashion designer, which he would make several years later.
These objects testify to the consistency of a passion and an interest based on two main postulates, one methodological and the other aesthetic- stylistic. The first: just like a dress, a jewel is an unlimited landscape of confrontation with materials – in their countless peculiarities – and innovation, trials and progresses: an approach that is reminiscent of Galileo’s experimental and scientific method. The second: just like a dress, a jewel is meant to cover and decorate the body and emphasize its key points. It is bound to the human figure as if it were a part of it.
Ferré’s love for the jewel-ornament has never been confined in the background: the jewel and the dress merge into one another, as if one couldn’t do without the other. It’s an inseparable bond in terms of design and inspiration, experimentation and fascination.
The Italian National Chamber of Fashion means fifty years of Italian fashion, the years of the spectacular success of the Italian fashion world. It is a non-profit organization, founded in 1958. Its headquarters are in Milan, the capital of international fashion. It represents more than 200 Italian companies, high fashion, ready-to-wear, haute couture, sportswear, furs, cosmetics, textiles, and clothing, accessories, leatherwoods, footwear, services and distribution. It coordinates, protects, and promotes the image and the excellence of Italian fashion. It is the institution that takes care of all initiatives for the promotion of fashion in Italy and worldwide, and it is the sponsor and organizer of Milano Moda Donna and Milano Moda Uomo, the most anticipated fashion weeks around the world. In this fascinating scenario and international visibility, the Italian National Chamber of Fashion performs such essential functions as the completion of the calendar of shows and presentations, maintaining relations with the institutions, image, set design and outfitting of the runway presentations , the press office, the conception and design of special events, meetings, and conferences. The National Chamber of Fashion is the only association that had a modern runway presentation center in Milan, with large runway rooms, a central square where the public can follow the shown a video wall, live, a showroom reserved for editors and sponsors, a fully equipped press room, ample spaces to host exhibitions and presentations, and comfortable dining areas. The Camber of Fashion is the only institution on earth that organizes nine events a year devoted to fashion: Milano Moda Donna (September/Fabruary), Milano Moda Uomo (January/June), Milano Mode Precollections (May/June-November/December), Milano Moda Showroom (January/February-June/July), and Milano Moda Design (April). Under the presidency of Mario Boselli, which began in 1999 and was extended until 2010, the National Chamber of fashion’s acquired a role of primary importance in terms of institutional relations on an international level: it is a protagonist in the negotiations over the international calendars and in the alliances with Paris, London, and New York, as well as a point of reference for the other international fashion weeks: Sao Paulo, Tokyo, Shanghai, etc… Of great importance is the Italo-French Protocol of Understanding that was signed in 2000 and renewed in 2005 with Federation Francaise de la Couture. On 3 February 2003, the Camera Nazionale della Moda Italiana (the Italian National Chamber of Fashion) acquired juridical standing as a result of the recognition awarded it by the Prefecture of Milan, Since 2003 it enjoys the UNI EN ISO 9001:2000 certification and since 2004 it has been accredited as an educational entity with the Region of Lombardy. Under Boselli’s leadership three new events have been created for the fashion sector dedicated to the precollections, showroom sales, and design. Another significant element derives from all the initiatives created by Camera della Moda to support and assist young talented fashion designers: from the Next Generation competition, to the start-up of new fashion companies. Alongside Baoselli, the managing director Giulia Pirovano serves with her tenacious and dynamic character, managing the complexity of the world of fashion, and institutions, and the sponsors. always in the front line , both in terms of creativity and organization, as well as involving the Camera della Moda in the various fairs and events, and especially in planning new development and future scenarios for Italian Style.
1987 marks the beginning of Napapijri brand. The story began under the shadow of Europe’s highest peak, Mont Blanc, when Italian Manufacturer of travel bags, Green Sport Monte Bianco, founded by the Rosset family in Aosta, Italy, introduced a new meaning to outdoor apparel. The manufacturer combined innovative materials with a close attention to style. The iconic Bering Bag was the very first product created and produced by Napapijri, named after the great 18th century Danish officer in the Russian Navy, Vitus Bering, one of the first men to explore the great expanse of Arctic sea separating Russia from North America. In the course of a few years, the Aosta headquarters were flanked by new production units and numerous joint ventures with technologically advanced companies, allowing the brand to maintain its high production standards.
Napapijri means Arctic Circle in Finnish and the logo, half positive and half negative, expresses the North and South Poles in graphic form. The Norwegian flag is closely linked to the brand’s DNA, representing Europe’s northernmost country, the birthplace of some of the great explorers of the 20th century as well as a land of extreme conditions and magnificent landscapes.
Napapijri jackets, parkas and pullovers are designed in muted colors that blend right into urban landscapes, so they’re great for city wear, travel, and mountain wear. It comes in a minimalist style, with no overboard logos, patches or colors. Very easy to combine with any style you are going for and casual overall look, that goes well in most occasions.
It is a brand that mixes fashion with function. Meaning their products blur the line nicely between an afternoon hike through your nearest forest and that casual supper you will have afterwards at your local eatery. The brand represents a global mindset through the intersection of boundaries, culture, nature, and art. From the beginning, the company was committed to marrying the performance features of mountain gear with the fashion appeal of urban wear.
Iconic Skidoo Jacket
In 1990 the iconic Skidoo jacket was born. Still one of outerwear models ever made revolutionaries, the Skidoo conquered the success establishing itself as an undeniable style icon. Initially conceived as a pullover, this jacket is carefully designed in a modern technical fabric, durable and lightweight at the same time, to ensure maximum protection from the elements. Intelligent details make the difference.
Napapijri expands its product range from clothing to accessories. 1998 the company lands in Japan and opening its first store in Paris in the prestigious and picturesque Village Royal. From 2000, the Napapijri Geographic Company of sportswear, accessories and shoes for men and women, has been joined by Napapijri Kids, a collection of about 80 unisex garments for children from 2 to 16 years old. In 2003 the collaboration between Karl Lagerfeld and Napapijri for the creation of a limited edition Skidoo.
In 2004, Giuliana Rosset is the CEO of a public company when the brand is acquired by VF Corporation, a US-based leader in lifestyle apparel and owner of Lee, Wrangler, Nautica, and Eastlake, leads the brand in the direction of a more global business. This entailed a process in which all design, distribution and communication operations were centralized in headquarters in Lugano, Switzerland. Also, thanks to the investments on the international market, it is predicted by 2004 half of Napapijri’s turnover will come from abroad.
In 2005 they open a Munich store, Germany’s mecca for cultural tourism. In 2007 Napapijri launches a footwear line along with the opening of a new store in Berlin, Europe’s capital of cool. In 2007, the brand also began the production of sunglasses, and a repositioning of its identity with the inauguration on Milan of a gallery store in Via Manzoni, hosting photographic exhibitions and events on themes such as travel or the environment. The Recent opening of the own-brand store in Milan followed others in Chamonix and Paris, while the Tokyo store, in the Shibuya area, is the first step on the way to expansion in the East, a priority for the company.
Napapijri Supports the Environment
In 2008, to celebrate the opening of the Milan store, Napapijri teamed with brand’s official ambassador, photographer/adventurer Sebastian Copeland, exhibiting Copeland’s photographs entitled “Antarctica: The Global Warming” at the store. Proceeds from the sale of the photographs went to Global Green USA, the U.S. arm of Green Cross International. Napapijri continues to sponsor Copeland on expeditions to photograph and film endangered environments to support travel, research, and exploration to raise public awareness on environmental issues and eco-sustainability. The project seems a fine fit for Napapijri, with its polar heritage and environmentally friendly sportswear.
In 2009 Andrea Cannelloni became the President of Napapijri and opened its 50th store, in Lille, France. Later, in 2010 Japanese designer, Yoshinori Ono, designed a special clothing line for Napapijri which was designated as the ‘66° 33’ Special Project’ the numbers referred to the latitude of the Arctic Circle. Also at this time, the brand opened an online shop.
In 2011 Napapijri designed a jacket costing €10 for the Democratic Wear campaign launched by the Coin department store chain in Italy. A percentage of the sales went to Green Cross Italy.
Also, in summer Napapijri launches, The Denim Project, a capsule collection consisting of five jeans and a “used” denim jacket style. Each one is different from the other thanks to the various fitting and treatments. Washing in fact range from 100% indigo, the handmade mending, the technique of stone washed to give the ffect of the jacket looking dirty. Also, the denim jacket, Aijal, uses the same manufacturing processes to give a vintage vibe that men, traveler, and researcher of unknown worlds who is full strong emotions, can interpret.
The Geographic and Authentic collections are launched and Napapijri opens its doors to the world by launching its first e-commerce website. 2012 was a landmark year as Napapijri opens its 100th store, in Stockholm, Sweden, as well as a flagship store in one of Asia’s most important fashion cities, Seoul.
In 2013 stores open in two of Europe’s favorite mountain destinations: Crans Montana (Switzerland) and St Anton (Austria). Later, in 2014, the brand partnered with BMW at the 9th Annual BMW xDrive Tour in France for winter terrain test drives, providing the BMW team with the apparel they needed to withstand the elements. The Napapijri® brand expanded its global presence with a new store opening in the heart of Vienna’s main shopping area. This brought a worldly view on style and innovation.
To build the Napapijri® Spring and Summer 2014 collection, the brand traveled from the forests of the Sierra de Urbasa plateau to the desert valley of Bardenas Reales. mixing elements of its heritage with global travel insights, the brand developed an eloquent blend of cultured style and fresh fashion. In 2015 an official press release, the Napapijri brand is committed to animal welfare and stops the fur from the fall-winter 2015 collection It will use high-quality synthetic fur of the brand Kanecaron.
Napapijri embraces THERMO-FIBRE® product, an eco-friendly replacement for Fall/Winter collections. Composed of lightweight air-trapping microspheres that create a soft, quilted texture, ensuring superior, lab-tested thermal regulation and insulation also enables the new AERONS style: a versatile, attractive and easy-to-wear jacket, where softness, durability and protection meet a sleek, modern esthetic that suits urban pace just as well as life on the trail.
In 2016 Dutch artist, Heleen Blanken, collaborates with the brand to explore the tension between the urban and the wild in her new artwork. The artwork was centered around the tension between industrial destruction and the beauty of nature.
In 2017, the London designer, Martine Rose, and Napapijri together create a capsule collection on the market. For their designs, they took inspiration from the nineties hip-hop scene. The line was contemporary, intelligent, and a total must-have. Thanks to the attention to detail and oversized pieces she has managed to preserve the uniqueness of the label and at the same time pressing her own stamp by injecting a healthy dose of color in the collection. That way, they will bring a little more contrast in the Napapijri world, which is known for its eternal dark tones of the brand. The collection mixes salopettes with yellow, blue or black oversized jackets, based on Napapijri’s curly fleece. The new dimension in thermal insulation.
Currently, Mariano Rajoy is the Brand President. The company will launch the Super light Parka for the 2017 Fall/Winter season utilizing there THERMO-FIBRE® in collaboration between Freudenberg Performance Materials Apparel to give a boost to the development of the fireball padding.
The various lines combine to make up two offerings, Napapijri Geographic and Napapijri Authentic. Napapijri Geographic is based on the concept of day-to-day garments for town use and leisure. Napapijri Authentic highlights the natural origins of the brand and on high technical content and performance, developed to offer a flawless wear ability in all situations and weather conditions. The first example of this passion is the Skidoo jacket, a Napapijri icon that has been constantly revisited over the years, with new materials and colors every time in order to perpetuate the energy of an enduring style capable, above all, of telling a story.
Currently, Napapijri has has a wide distribution network with more than 600 multi-brand stores in Italy and partnerships around the world, controlled by 3 branches run from the USA, France, and Germany.
Paul Smith (1946) is an English tailor and designer. The first thing he sold was a pocket handkerchief with the British flag. Today, in the stores, everything is from robots to ties. He is always unconventional. It has transformed the tailoring into an explosion of colors, inventions, fashion trends combined with the oldest quality of fabrics. He still has the spirit of a twenty-something, cutting-edge designer, which is why he continues to ride the crest of the wave.
His clothes are like his personality: amusing and serious at the same time, eccentric but wearable. He opened a multi-brand shop in Nottingham in 1970, and nine years later opened his first proper shop, revolutionizing the concept of selling space, which from then on was no longer just the space used for the display of goods, but a meeting point for anyone interested in style.
His first menswear fashion show was in 1976 in Paris. From that point on the label has grown from strength to strength. The brand’s reputation has never ceased to grow. He has also been asked to be a consultant to the Prime Minister Tony Blair.
You Can Find Inspiration in Everything (and if you cannot, look again!)
In February 2001, Paul Smith joined The Queen on the Birthday Honors List, an acknowledgment of his contribution to British fashion. Later, in November he published You can get inspiration from anything (and if you cannot, look again!). It is not a fashion monograph, nor a clothing catalog, but a collection of images where the author is portrayed in the most diverse situations. The volume, 288 pages, was edited by Alan Aboud who has co-authored the author as an art director for more than ten years. The project was also signed by Jonathan Ive (iMac designer). At the same time, he opened a shop in London at the Royal Exchange.
Paul Smith in Milan
In March 2002, Paul Smith opened his first single store in Italy, via Manzoni in Milan. The project is by Sophie Hicks. Then, the first men’s shoe store was opened in Paris. The following month, in collaboration with Cappellini, the Mondo furniture collection will be launched during the Milan Furniture Show.
During the same period, the designer organized Great Brits, an exhibition that pays homage to the greatest British designers. The exhibition was held in his own studio in Milan at Viale Umbria 95. The designer chose four young names: D. Mathias Bengtsson, Tord Boontje, Daniel Brown, and Sam Buxton.
In 2003, after the enormous success achieved with the first collaboration, Reebok commissioned the designer to create a new collection of 80’s men-women shoes, named after Paul Smith, Reebok 2. The materials are mainly orange and blue nylon and real red and blue leather. Exclusively worldwide, only in the stores of Paul Smith (around 250 worldwide) you can buy the first book written by David Bowie at the “modest” sum of £ 295, Moonage Daydream: the truth behind Ziggy. Each of the 2500 numbered copies is autographed.
Boutiques and Iconic Stripes
In February 2005 he opened his first shop for the Pink line in the Daikanyama district of Tokyo. The flagship store measures 120 square meters and is entirely for womenswear and accessories. It is called Paul Smith Pink+. Then, in March he released the Black collection, following an earlier Blue version, the second official women’s line to be found in department stores such as Harvey Nichols, Harrods, and Selfridges.
Paul Smith boutiques are known for a distinguished playful design. Every boutique is designed and decorated differently, but all are full of color and character, mirroring his personality. This concept reflects his unconventional design.
In 2006, with the intention of using it only for a season, the stylist launches the iconic signature of Paul Smith Stripes. There are not many styles that can be worn either by a two year old girl, or a 35-year-old man. The stripes are perhaps the only candidate. The rows have the power to make a highly distinguishable surface, which, speaking of clothes, explains why they have never been kept in great care.
The Recent Year’s
In 2009 Paul Smith made a collection of bike clothes in association with Rapha. In this period, he opened stores in Dubai, Bangalore, Leeds, Antwerp, Los Angeles, and London.
In mid-November 2013 the company celebrated their 40th anniversary in the fashion world at the London Design Museum with the exhibition Hello, My Name is Paul Smith. The goal is to explore all aspects of the designer’s career, including future development. Accurate reproduction of Paul Smith’s studio, as well as an immersive installation, reveal some of his inspirations. The exhibition is a real journey through its collections, a day in the life of a parade and collaborations with other brands.
In 2017, in Florence, Paul Smith lit a fluorescent light in his youth line, PS by Paul Smith, and re-launched with a focus on basic clothes. The designer argues that the cornerstone of his business is the basis:
“Well done, of good quality, simple cut, made with special fabrics and easy to wear.”
Paul Smith has not presented his collection to Pitti Man for 23 years, but has considered Pitti Uomo 91 the right occasion to present his new collection. The latter translates his attitudes towards classic and bizarre in terms related to the new generations.