Lacquered gold lamé tubular leather on a tulle base gives definition to an impressive design seamlessly hugging the torso with a faux cable print.
For Ferré technique involves a distinct element of experimentation, as beyond any pure matter of creation what intrigues the designer is meeting some fabulous new challenge.
Ornamentation is rich with magical symbolism, as in archaic motifs the result of exclusive lost wax casting.
Similarly, this medallion features use of ancient agemina metal inlay, a technique which originated in China within the sphere of bronze working during the Hsia dynasty (21st - 16th centuries B.C.).
According to the Taoist thinking “the Celestial Dragon is the steed that comes to bless and bear witness to a life well lived”.
The dragon — mythical animal linked to Fu Xi and Nu Wuo, progenitors of the Chinese people — is a symbol of courage, power and virility.
Ferré translates his fondness for chinoiseries into these silk jacquard pants where the luxuriousness of the design heightens the force of the meandering fire-breathing gold dragons.
The dragon — Loong in the Chinese language — became a decorative element in the clothing of both emperor and high functionaries during the Han dynasty (206 B.C. - 220 A.D.).
Ferré enjoys infusing his creations with complex poetic imagery, as in this sheer gold lacquered silk tulle top featuring on the front a dynamic dragon in lavish embroidery.
“I realize that I have a particular weakness for gold — whatever the degree of luster — for shiny shimmering silver and for the warm glow or patina of bronze”.
Precious nuances intersect wondrous gold glints in fashioning the embroidery for this delicate bodysuit. Creating contrast is the rich fabric of the skirt, complete with organza belt lined in tulle embroidered with gold-overlay cord spirals.
Gold lace on a "nude" tulle base adds the all-important uniqueness factor to an exquisitely made jacket that adorns the body as if a dazzling jewel. “It’s for women whom no amount of adjectives can properly describe”.
The gold overlay process takes place in two steps, first on the finer pieces of cord and then on the thicker ones.
The ceremonial dress that for more than 2,000 years emperor and dignitaries in ancient China used during propitiatory rites had an empire waist marked by a knotted cloth band. From the bottom edge of this band hung Bi xi: a particular type of ornament with symbols designed to protect the royal dignity.
Hundreds of years ago, near an old coal mine in Liaioning, town in the Fushun district of Manchuria, someone found a small amber lode that dated to the Paleocene period. While now the mine is mostly exhausted, the art of crafting items from artificial resins serves to keep appreciation for the ancient splendor alive.
Drawn from his notes, lessons and interviews, the words, thoughts and ideas of Gianfranco Ferré - here in the form of quotes - express the designer’s passion for the real, yet mostly imaginary “neverending journey” that always inspirited his style, his collections.
Ferré Gianfranco, “Lettres à un jeune couturier”, Editions Ballard, Paris, 1995.
Ferré Giusi (curated by), “Gianfranco Ferré. Itinerario”, Leonardo Arte, Milano, 1999.
Frisa Maria Luisa (curated by), “Gianfranco Ferré. Lezioni di Moda”, Marsilio, Venezia, 2009.
A.A.V.V., “Fashion Intelligence”, Edizioni del Sud, Bari 2016.
Mara Cantafio Cappelletti, “Bijoux primo amore”, Ornamenta, March 1998.
Maria Luisa Frisa, “Un sogno lungo vent’anni”, Amica, October 9, 1998.
Guido Vergani, “Ferré”, Sette, October 10-16, 1998.
Brigitte Benkemoi, “Gianfranco Ferré, Carnets de voyage”, AOM Magazine, December 1998 / January 1999.
Samantha Conti, “Hip Hip Ferré”, W Magazine, October 1998.
Renata Pisu, “Shanghai Chic”, D Repubblica, May 2001
Sylvie Dauvillier, “Gianfranco Ferré Mode in Shanghai”, Point de Vue, May 5, 2001.
Maria Rita Stiglich, “Moda senza confini”, Pellicce Moda, December 2001.