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GIANFRANCO FERRÉ | MERVEILLEUSE | F/W 2003

A clear expression of Ferré’s passion for historic and stylistic research, this white shirt makes reference to the chemise à la reine, a peasant-style shirt-dress favoured by Marie Antoniette which was subsequently taken to the extreme by the post-revolutionary Merveilleuses, whose semi-transparent shifts were considered more akin to undergarments than fashionable gowns. Capturing the provocative aspect of these late 18th century expressions of decadence, Ferré’s shirt is made of long swathes of transparent, lace-edged chiffon and further enhanced by a long cloak decorated with a fine inlay of embroidered lace. The female form of the wearer is highlighted by a padded strapless bra worn over, rather than under, the shirt. The ‘overdose’ of femininity generated by this garment was tempered on runway by the use of glam punk makeup and hair.

Gianfranco Ferré. Photo: Luca Stoppini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

GIANFRANCO FERRÉ | RABARI | S/S 1995

Gianfranco Ferré. Photo: Leonardo Salvini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

(Source: http)

GIANFRANCO FERRÉ | RABARI | S/S 1995

The structure of the garment makes stylistic reference to the kediyun, a jacket worn by the Rabari people of Western India, while the influences by which it is inspired focus on the potential offered by primary geometric figure. The lower part of the shirt indeed is a perfect circle. The slim kimono-style sleeves are longer than normal but fitted with a hidden coulisse to enable their shortening. The circular shape of the lower part of the shirt and the way in which the stitched frill creates a fluidly rhythmic cycle of waves.

Gianfranco Ferré. Photo: Luca Stoppini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

(Source: http)

GIANFRANCO FERRÉ | PICARESQUE | F/W 2001

Gianfranco Ferré. Photo: Leonardo Salvini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

(Source: http)

GIANFRANCO FERRÉ | PICARESQUE | F/W 2001

The confluence of a range of different ideas – tribal bracelets, the corset, the 1950s cowl collar, 18th century sleeves – the picaresque shirt remains partially open at the front with a deep cowl collar attached only to the back of the yoke. The waist is highlighted by a boned bodice held together by tapes passing through metal rings and zips, while the funnel-shaped sleeves are cut off at different lengths: the left sleeve just reaching the wrist; the right sleeve reaching over the hand. Three black leather bracelets, positioned on the forearm and above the elbow enable the wearer to increase or decrease the volume of the sleeves which are finished with a sunray pleated cotton tulle trim.

Gianfranco Ferré. Photo: Luca Stoppini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

(Source: http)

GIANFRANCO FERRÉ | LIBELULLA | F/W 1995

Lightness, simplicity and transparency are the concepts inspiring the libellula shirt, a garment whose sleeves and 16th century-style collar are undoubtedly designed to be the main points of interest. The main body of the shirt is a transparent leotard in white stretch lace whose neckline is cut straight above the bust. The cuffless funnel-shaped sleeves, decorated with a longitudinal slit at the elbow, and the shawl collar, whose folds drop down to the waist, are attached to the main body of the shirt. The surface of the collar is crisscrossed with twenty-one hand-stitched horizontal pleats which, in addition to contributing to the decorative impact of the shirt, also perform a structural function by strengthening the fabric of the back of the collar.

Gianfranco Ferré. Photo: Luca Stoppini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

(Source: fondazionegianfrancoferre.com)

GIANFRANCO FERRÉ | SCOMPOSTA | F/W 1994

Gianfranco Ferré. Photo: Leonardo Salvini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

(Source: http)

GIANFRANCO FERRÉ | SCOMPOSTA | F/W 1994

De-structured and re-composed in such a way as to eliminate the volume of the bodice and focus exclusively on the sleeves and collar, the scomposta shirt is entirely bereft of some of its fundamental parts. The quilted ivory taffeta bodice is padded with white nylon tulle, while the cone-shaped sleeves are attached to the bodice by straps in such a way that the wider upper part of each sleeve falls down over itself to leave the shoulders of the wearer bare. The sleeves narrow at the forearm to end in cuffs fastened with cufflinks. The long pointed collar of the shirt is fixed to the front of the shirt by two long ribbons which cross behind the wearer’s back.

Gianfranco Ferré. Photo: Luca Stoppini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

(Source: fondazionegianfrancoferre.com)

GIANFRANCO FERRÉ | ARTISTA| F/W 1993

Exploiting various elements of late 19th century fashion – tightly fitting collar and cuffs, highly refined decorative elements (lace, machine embroidery) and voluminous sleeves – the artista shirt is composed of three circles of fabric layered over one another, two layers of taffeta and an inner layer of organza. In order to anchor the enormous volumes of fabric and enable their modelling, the intermediate layer of taffeta is backed with a straight-cut shirt. The sleeves of the shirt are gathered in six pleats at the elbow and finished with a long cuff and jewel button.

Gianfranco Ferré. Photo: Leonardo Salvini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

(Source: fondazionegianfrancoferre.com)

GIANFRANCO FERRÉ | ARTISTA | F/W 1993

Exploiting various elements of late 19th century fashion – tightly fitting collar and cuffs, highly refined decorative elements (lace, machine embroidery) and voluminous sleeves – the artista shirt is composed of three circles of fabric layered over one another, two layers of taffeta and an inner layer of organza. In order to anchor the enormous volumes of fabric and enable their modelling, the intermediate layer of taffeta is backed with a straight-cut shirt. The sleeves of the shirt are gathered in six pleats at the elbow and finished with a long cuff and jewel button.

Gianfranco Ferré. Photo: Luca Stoppini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

(Source: fondazionegianfrancoferre.com)

GIANFRANCO FERRÉ | LA RONDE | S/S 1993

The design of the la ronde shirt is clearly shown in the two and three dimensional autograph sketches in which Ferré emphasizes the elementary geometric shape by which it is inspired with hand-stitching at the yolk, waist, sleeve edges and hem. The sleeves are formed by two lateral slits without cuffs while the mandarin collar is fastened by the combination of a large leather and metal stud and a row of hidden mother of pearl buttons.

Gianfranco Ferré. Photo: Luca Stoppini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

(Source: fondazionegianfrancoferre.com)

GIANFRANCO FERRÉ | CLASSIC GLAMOUR | A/W 1990

With a cowl neck opening softly down the back, the classic glamour shirt is part of a collection whose leitmotif is the juxtapositioning of different volumes and shapes. Indeed, while the bodice of the shirt is closely fitted to the body, the collar and sleeves widen towards the cuffs to create a soft blouson effect. The fully backed collar is attached only to the front of the shirt in such a way that it is free to fall softly down the back of the wearer, recreating the classic elegance of 1950s couture.

Gianfranco Ferré. Photo: Luca Stoppini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

(Source: fondazionegianfrancoferre.com)