Dear Followers, I still remember the closet of my French great grandmother, a tiny, tiny lady with splendid green eyes and graceful movement despite her age. When I would visit her in her splendid Parisian apartment I would enjoy playing hide-and-seek with my terrible cousins (all boys). My favorite place to hide? Grandma Rosette’s closet. It is there that I discovered the gem that no wardrobe should be without: the white blouse. Or as Rosette would say, chemisier.
You cannot imagine my surprise when, growing up, I discovered that the Italian and great “Architect of Fashion”, Gianfranco Ferré, labeled this piece of clothing the “contemporary lexicon of elegance.” Constant presence that endures like a wardrobe leitmotif throughout its career, Gianfranco Ferré himself defines the white blouse as his “style signature”. It is this gem that represents the elements of design and creativity of Gianfranco Ferré, such that the undisputed Italian maker concentrated his entire artistic energy on the blouse, succeeding not only to transform, but also innovate the language and aesthetics of fashion.
The white blouse in addition to an element of continuity of all the work of the great architect of fashion, is the most congenial staple of his and as such it is able to inherit the most hidden and profound folds of his thought and sensibility. Numerous are the occasions in which Ferré declares the objectives that support the mission of the white blouse—a point of departure for “rereading the canons of elegance”. Exercise design elements in order to break down and rebuild the “thousand identities” that the white blouse has the capacity to take on.
My dear followers, you can only imagine my happiness when I discovered that in Milan from the 10th of March to April 1 2015 at the Palace Hall of Caryatids will host the exhibition, The White Blouse According to Mr. Gianfranco Ferré.
Conceived with the intention to bring to light the satirical poetry and creativity of Gianfrano Ferré, the exposition, conducts the visitor across different forms of reading material to discover the white blouse, highlighting the elements of design most innovative and infinite, with fascinating interpretations.
. Thought to give strength to different figurative languages with which the universal blouse was read, dissected and remodeled, the exposition presents a fascination and appreciation of different elements as a corollary of garments worn on a mannequin: drawings, technical details, sketches, photographs, advertising images, and editorials. The pinnacle of the exhibition consists of twenty-seven blouses – an exercise satirical masterpieces that exemplify nearly twenty years of creative talent of Ferré (collections of PàP from 1982 to 2006).
Ferré’s development process in creating the blouse demonstrates a commitment to thoughtful work. Never equal or mistakable, the candid blouse is known to be light and airy, but also impeccable and severe—when it conserves the masculine cut, sumptuous as a cloud, and tight and wrung like a body. Some parts can be emphasized, primarily the neck and wrists, while others intentionally reduced and deprived like the back, shoulders, and sleeves. It inflates and rises with movement, almost defying gravity. It stands as a COROLLA framing the face. It sculpts the body in order to transform into a second skin. It has versatile interpretations depending on the various qualities of material it is made from: Impalpable organza, crisp taffeta, shiny satin, duchess, poplin, georgette, chiffon…
The most authentic intent of the exhibition is to recount a comprehensive vision, a philosophy, a way in which the white blouse could perhaps be considered the tip of the iceburg within the aesthetic belief of Gianfranco: fascinating, compelling, rich.
To close my article I offer this Gianfranco Ferré phrase: “In the contemporary lexicon of elegance, I like to think that my white blouse is a universal term, however it is one that each person pronounces as they wish.”
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