Tarlazzi

Angelo Tarlazzi (1945). Italian fashion designer. He was born in Ascoli Piceno. He established his reputation in prêt-à-porter, but his past was in haute couture after working with Jean Patou, first as an assistant and later as a creative director, from 1972 till 1976. He arrived in Paris in 1965 with not much money, plenty of enthusiasm, and a portfolio full of sketches. Behind him was an apprenticeship with Carosa, a legendary name in the Roma of La Dolce Vita (he was only 19 when he went to work instead of studying political science as his parents had hoped) and lots of copies he had done of the illustrations of Brunetta “one, ten, a hundred, to develop the skill.” At first Paris was pretty hostile to him, and he had plenty of disappointments, until he decided to try the atelier of Patou, in fact, where his confident new style won interest. And he was hired. He made his presence felt right away. A first shock to the slightly old-fashioned image of the maison came with the idea of presenting the Collections with beautiful cover-girls, rather than entrusting them to chilly, reserved mannequins. Then came the nude-look “which is seduction, not sexy,” a word that he rejected entirely. He would say, in this connection: “While I like a jacket worn over skin, the vampish sheath dress is horrible.” His secret was to uncover and discover women without rendering them vulgar. And he added: “It is not the clothing itself that should enchant us, but the woman who wears it.” History records that he made a brief return to Italy, where he worked with Laura Biagiotti and Basile: but working under a boss wasn’t his style, and so he returned to France to attempt the great adventure of setting up shop on his own. The year was 1977. At this point, he also showed good business instrincts. Just five years went by and he was the president of the company that controlled his womenswear lines (Angelo Tarlazzi and the distribution Tarlazzi Due) and, subsequently, menswear as well. In 1986 he developed the Bataclan label, intended for the very young consumers, and in 1989 he succeeded to the very prestigious throne of Guy Laroche, who had died that year. He considered his creations to be nothing more than tools that he loved to play with: a soft dress without a cinch at the waist and normal length, can be worn in different ways, either gauzy and so short that it becomes a mini; or draped asymmetrically or blouson style at the hips. He sought unconventional combinations: he know how to slip a strict blazer over a gypsy skirt; he liked to set the stage for an active, mobile woman who was also seductive, caressed by the nuances of Paris and the bright colors of Italy. His most memorable qualities were the clean cuts, the natural volumes, the elegant, youthful silhouette, and especially comfortable, qualities that contributed to the success of the griffe, which clearly intended to transmit an undeniable love of liberty. An intelligent fashion that was always in step with the times, which focused importance on accessories, considered absolute co-stars of elegance: “If a woman has imagination,” he said, “with a few well-chosen accessories, she can create a personal style all her own.” Among the folk styles that we should mention, he converted peasant dress into haute couture: in linen embroidered with raffia; or else gringo outfits, double-breasted spencer jacket over tight pants or wrap-around skirts, fastened with big leather belts. And then there were the shantung safari jackets, worn over pleated chiffon skirts. Everyday luxury, then, entrusted to lengthy cardigans that underscored the refinement and simplicity of his style.