Gigli has built a different kind of freedom in his clothing with materials and construction. He loathed zippers, preferred buttoning or fabric upholstery, and he listened to and respected his material in a way that has been compared to Mariano Fortuny. “[In India] they say cloth is a kind of religion. You can’t cut fabric, you need to cut minimally, and that’s my idea; I didn’t want to use too many cuts,” the designer recounts. “It is very important to have fabric by your side when working. When I make a cocoon not because I think of Poiret’s cocoon or something, the shape comes when I cover it [model]. If you take a big piece of cloth and you put it on your shoulder and you go around, [it creates a cocoon shape]. When I made my first coat, everyone [said it was] magnificent, [but] for me it’s like taking a blanket from the bed and covering it [model]. “
Gigli’s work is significant. His drapes borrow from both classical and rococo cultures, while his tailoring takes cues from the 18th and 19th centuries. In addition, the designer notes that “you can find touches of art small break of the 60s and London” in the work.
Perhaps the most fundamental aspect of Gigli’s process is his emphasis on providing choice and personalization through works, rather than a holistic view. “I think my way of working is different from other designers,” he said on a recent call, because “I started [by] Draw each piece one by one. I never wear costumes. I [designed] jackets, coats, shirts, pants, skirts, dresses, and I mix and match everything when it’s done. This way, for me, it’s very important. One piece, it needs to have a soul. So if it’s a shirt, [it] needs to be pretty, but not because of it with these pants, or this jacket. For the pieces,” he added, “[women] there is a lot of freedom, you can mix and match [them] in many different ways, and I think that can be part of my success. “
Gigli’s 1990 collection is an example of this approach in action. If certain outfits have a baroque feel, individual components like a subtle yet rustic crochet jumper or floral striped taffeta will be soothing. The bandeaux t-shirt and top corset worn by the models could fit into the summer 2021 wardrobe. The signature flats create the soft and quiet walk the designer loves. “’I want my clothes to be modern, simple and ‘scivolare past’ —Which loosely translates to ‘leave’, he said Vogue in 1989.
The inspiration for the collection was Venice, a theme most evident in Gigli’s use of glass from that floating city. Using scraps from the chandelier, he not only crafted earrings that fell below his shoulders, but also made clothes out of glass. Some critics argue that the latter was always intended as showpieces, valued in terms of value, but he was able to find a company that could manufacture earrings with lightweight and durable Pyrex. than.
Looking through this collection, we see Gigli’s scivolare qua concept in action. He presents works that seem to be unconstrained by time and ready to take on the imagination. One of Gigli’s gifts is his ability to translate his universe, with its medieval pages, Byzantine queens, dandelions, and Pre-Raphealite beauties, into essential but very much needed clothing. precious. With bold reds and striking golds, the collection feels like an illuminated manuscript page that comes to life with the clothes a woman can wear to write her own story. Looking at it that way, we go in a circle to where Gigli’s chronicle begins, among the precious books. Like things from his parents’ collection that he sold to fulfill his fashion dreams.
https://www.vogue.com/fashion-shows/spring-1990-ready-to-wear/romeo-gigli | Romeo Gigli Spring 1990 Ready-to-Wear Collection