"The anatomy lesson" by Rembrandt - 1632
Jil Sander F/W 2013-14
"The Syndics of the Clothmaker's Guild" by Rembrandt - 1662
Fino agli anni trenta rimase in voga allacciare colletto e polsini come elementi separati dal corpo della camicia, un'idea pratica per permettere una più agile pulizia delle parti a diretto contatto con la pelle. Difatti il colletto bianco venne ad assurgere a simbolo di ascesa sociale quando la borghesia ottocentesca ne fece uno status symbol di agiatezza. Un ricordo lontano della più sfarzosa gorgiera cinquecentesca, sfoggiata con disinvoltura da nobili e aristocratici spagnoli. O ancor meglio una reminescenza degli abiti sobri e più pacati dei mercanti olandesi, i cui colletti inamidati e minimali contribuirono a rappresentare il rigore morale della nuova classe emergente. Ed è proprio nei ritratti di Rembrandt che è possibile scorgere un altro particolare della moda del tempo: collari metallici di scintillanti armature, quasi dei virili monili d’antan. In generale nelle uniformi, sinonimo di ordine e rispettabilità, il tessuto attorno al collo è da sempre uno dei pochi spazi concessi alla frivolezza e alla distinzione di esercito, grado e reggimento.
Per l’inverno 2013-14, molti stilisti hanno puntato l'attenzione sul colletto, reinventato in nuovi tessuti e colori. Rigido, grafico e a contrasto da Carven, Iceberg e Jil Sander. Voluminoso, strutturato ed eclettico da Miharayasuhiro. Purpureo da Raf Simons e Alexander McQueen. Ascetico e orientale da Neil Barrett.
Una sottile ricerca del lusso, un vezzo da dandy, in equilibrio fra esibizione di sé e la doverosa austerità richiesta dall’oggi.
Per l’inverno 2013-14, molti stilisti hanno puntato l'attenzione sul colletto, reinventato in nuovi tessuti e colori. Rigido, grafico e a contrasto da Carven, Iceberg e Jil Sander. Voluminoso, strutturato ed eclettico da Miharayasuhiro. Purpureo da Raf Simons e Alexander McQueen. Ascetico e orientale da Neil Barrett.
Una sottile ricerca del lusso, un vezzo da dandy, in equilibrio fra esibizione di sé e la doverosa austerità richiesta dall’oggi.
Article: Leonardo Iuffrida
Translation: Alessandro Mancarella
Translation: Alessandro Mancarella
Are you curious to know which is the seasonal trend for the upcoming winter? Undoubtedly the collar.
Until the ‘30s the collar and the cuffs used to be buttoned up as separate elements from the shirt, a practical idea to allow a faster cleaning of the parts in direct contact with the skin. Indeed the white collar became a real symbol of social climbing when the nineteenth-century bourgeoisie made it a sign of wealth. A far memory of the more magnificent sixteenth-century ruff, worn with self-confidence by the Spanish nobility and aristocracy. Or even better a reminiscence of the sober and measured garments of the Dutch merchants, whose stiff and minimal collars contributed to represent the moral strictness of the new rising class. Exactly in Rembrandt’s portraits it is possible to remark another detail of the fashion of that time: metallic collars of shiny armours, as almost virile necklaces. In general in the uniforms, which are synonym of order and respectability, the fabric around the neck has always been one of the few spaces granted to frivolousness and distinction of army, rank and regiment.
For the winter 2013-14, many fashion designers aimed at the collar, reinventing it with new fabrics and colours. Rigid, graphic and in contrast by Carven, Iceberg and Jil Sander. Voluminous, structured and eclectic by Miharayasuhiro. Purplish by Raf Simons and Alexander McQueen. Ascetic and oriental by Neil Barrett.
It can be considered a subtle luxury research, a dandy mannerism, in balance between the exhibitionism and the dutiful austerity needed today.
Until the ‘30s the collar and the cuffs used to be buttoned up as separate elements from the shirt, a practical idea to allow a faster cleaning of the parts in direct contact with the skin. Indeed the white collar became a real symbol of social climbing when the nineteenth-century bourgeoisie made it a sign of wealth. A far memory of the more magnificent sixteenth-century ruff, worn with self-confidence by the Spanish nobility and aristocracy. Or even better a reminiscence of the sober and measured garments of the Dutch merchants, whose stiff and minimal collars contributed to represent the moral strictness of the new rising class. Exactly in Rembrandt’s portraits it is possible to remark another detail of the fashion of that time: metallic collars of shiny armours, as almost virile necklaces. In general in the uniforms, which are synonym of order and respectability, the fabric around the neck has always been one of the few spaces granted to frivolousness and distinction of army, rank and regiment.
For the winter 2013-14, many fashion designers aimed at the collar, reinventing it with new fabrics and colours. Rigid, graphic and in contrast by Carven, Iceberg and Jil Sander. Voluminous, structured and eclectic by Miharayasuhiro. Purplish by Raf Simons and Alexander McQueen. Ascetic and oriental by Neil Barrett.
It can be considered a subtle luxury research, a dandy mannerism, in balance between the exhibitionism and the dutiful austerity needed today.
Alexander McQueen F/W 2013-14
Raf Simons F/W 2013-14
"Karl Emanuel Stürler" by Johann Ludwig Aberli - 1764
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