“W hat is im­por­tant to me nowa­days is to be able to trans­late the her­itage and crafts­man­ship of Sal­va­tore Fer­rag­amo into a mod­ern lan­guage.”

Harper’s Bazaar (Malaysia) - - THE NEWS -

it’s in­ter­est­ing to work on the con­cept of Ital­ian­ity. This is some­thing I re­ally want to stress be­cause I feel, be­ing a part of the fam­ily busi­ness, it is about the in­tegrity of the prod­uct. For us, it’s not about num­bers, it’s about qual­ity – keep­ing the tra­di­tion, prin­ci­ple, and the DNA of Sal­va­tore Fer­rag­amo. That, to me, is the most im­por­tant pro­ject.”

Sal­va­tore Fer­rag­amo and con­se­quently, Gior­netti’s pref­er­ence to fo­cus on the rich her­itage of the house in­stead of sea­sonal trends ex­plains how the com­pany re­ported a six per­cent in­crease in its rev­enue to 1.3 bil­lion Eu­ros at the start of the year. It also ex­plains why Gior­netti harkened back to the ’ 30s while the Au­tumn/Win­ter ’ 15 runwa run­ways of Mi­lan Fash­ion Week were awash with ’80s in­flu­ences.

““I started from the ’30s be­cause it’s an ex­tremely in­ter­est­ing mo­ment for literature, mus mu­sic, and art. It was also the time that Sal­va­tore Fer­rag­amo started his ca­reer in Los An An­ge­les,” says Gior­netti about the in­spi­ra­tions be­hind the col­lec­tion.

It’s rare for a de­signer to ex­plain his de­signs in such clear yet evoca­tive terms. His men­tion of the Rus­sian artists im­me­di­ately calls to mind the al­most ab­stract Bauhaus ge­om­e­try that adorns the col­lec­tion, bal­anced with big, per­fectly round but­tons that r run as a leit­mo­tif through­out the col­lec­tion. “Patch­work” is also the per­fect de­scrip­tion of the plush over­coat skil­fully con­structed with strips of multi-coloured mink, which also finds its form in tabards: “The patch­work is re­ally one of the icons of the Fer­rag­amo world; the love of mix­ing dif­fer­ent ma­te­ri­als to­gether. It’s re­ally a part of the lan­guage that Sal­va­tore de­vel­oped dur­ing his life and his ca­reer.”

Over­all, it’s a win­ning col­lec­tion that presents fa­mil­iar el­e­ments with sub­tle twists. As Gior­netti read­ily ad­mits: “Even as a stu­dent, I was not the kind who was i into as­ton­ish­ing peo­ple with crazy stuff. I was much more fo­cused on con­struc­tion an and the de­tails.” And these are pre­cisely what wins you over. From the hor­i­zon­tal knit pon pon­chos that bounce joy­ously with ev­ery step, to the tweed and leather skirts spliced wit hE with light-as-a-dream chif­fon in­serts, you can im­me­di­ately ap­pre­ci­ate the clev­er­ness.

Even more fas­ci­nat­ing is the way this col­lec­tion has taken on a more ro­man­tic, softer feel w within the con­fines of the Ja­panese tem­ple. Con­crete walls have given way to an­cient wood wooden beams, ur­banely dressed Mi­lanese fash­ion folk to grey suited Ja­panese busi­ness men a and ex­trav­a­gant ki­monos. Gior­netti him­self took his bow in a ki­mono.

Yet Yet, de­spite be­ing far re­moved from its orig­i­nal set­tings, the show­ing of the col­lec­tion felt tho thor­oughly at home, il­lus­trat­ing just who Sal­va­tore Fer­rag­amo de­signs for: The metropo metropoli­tan woman with an un­wa­ver­ing sense of iden­tity and style. Even the seam­less

pre­sen­ta­tion of the brand's Pre-Spring col­lec­tion An ex­hi­bi­tion at Nijo Castle along­side Au­tumn’s showed a fluid de­sign nar­ra­tive.

“What is im­por­tant to me nowa­days is to be able to trans­late the her­itage and crafts­man­ship of Sal­va­tore Fer­rag­amo into a mod­ern lan­guage. It’s no more about a gen­der or a de­mo­graphic tar­get. I don’t be­lieve in that,” says Gior­netti. “At Fer­rag­amo, it is about the in­tegrity of the prod­uct and the prin­ci­ple of Ital­ian­ity. It’s the fact that at Fer­rag­amo, we still do things with pas­sion. And that is an ex­tremely im­por­tant mes­sage for me.” Mas­si­m­il­iano Gior­netti in a ki­mono for the fash­ion pre­sen­ta­tion

Sal­va­tore Fer­rag­amo Au­tumn/ Win­ter ’15

Sal­va­tore Fer­rag­amo

Au­tumn/ Win­ter ’15

Seiryu- den Tem­ple perched on Mount Hi­gashiyama

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