Italian Fashion since 1945 by Emanuela Scarpellini

Author:Emanuela Scarpellini
Language: eng
Format: epub
ISBN: 9783030178123
Publisher: Springer International Publishing

PUCCI –A Florentine fashion house – Has made this gauzy set for the summer in batiste “Orlon” acrylic fibre. The skirt worn on the swimsuit can turn into a beach cloak. The printed fabric, in one of Pucci’s original designs, is pink and mauve.58

The same file also included a very beautiful almond green sweater (we will take their word for it, as all the photographs are black and white) from the Milan knitwear factory Avagolf, a blue evening cloak by Fabiani, a coat by Veneziani, an evening dress by Falconetto, a Bertoli sweater, a brightly coloured printed jersey of the Glans boutique of Milan and one of the nearby Naka boutique—all obviously in “Orlon”, the commercial name of the first DuPont acrylic suitable for knitwear. There is a specific note that some photographs were given exclusively to certain newspapers in Miami, Baltimore and Chicago, while others were free and were sent to European magazines.59 For the next autumn-winter season of 1961, there were photographs of models of Simonetta, Glans, Avagolf (as usual taken by Elsa Haertter at Villa Gaggiano, near Siena), and of Galitzine (in San Gimignano), of Falconetto (in Siena). Whether it was high fashion or boutique knitwear, the setting aimed at unambiguously emphasizing their Italianity. The exception was an interesting photo shoot of little girls’ dresses by Simonetta, photographed in the medieval cloisters of New York’s Metropolitan Museum, just to maintain a historic link.60

In 1962 there was a change of offices and communication was centralized in the New York office. But the format remained the same: in February there were the creations of Bertoli, Galitzine and the novelty of a man’s sweater, with a chequered design, created by Litrico 100% in acrylic.61 But the protagonist was once again Emilio Pucci, who presented a sportswear collection all in DuPont fibres, ranging from the tenacious nylon “Antron” to the soft “Orlon”.62 Then there were various photographs of a poncho-like dress, photographed on a beach, signed by Simonetta; a white tunic over trousers with a pattern by Veneziani; a tight-fitting knitwear set with bright floral trousers by Pucci; a beach pullover with a large diagonal stripe by Galitzine; a Brioni sweater. In August, there were other collections, other garments in synthetic fabrics: Galitzine, Bertoli, Veneziani, Pucci, Forquet, Avolio.63 In February 1963, the photographs documented the creations of Galitzine, Marucelli, Simonetta, in addition to the “provocative” series (so defined in the DuPont statement) of “Lycra spandex” or elastane bathing costumes by Pucci (for us, they are elegant print models of one-piece swimsuits, rather sober, against the background of the sea or the dome of Brunelleschi).64 It continued with the same rhythm also in the following years, perhaps focusing more on the names of high fashion and keeping a constant reference with historical and above all naturalistic settings (the sea, mountains).

Thus, also in 1964 the dominance of “Orlon” continued in the clothes designed by Antonelli, Galitzine, Simonetta, Tricò and others (at that time several garments were also tight trousers or long matching socks).65

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