GEOMETRY OF STYLE
Prowling the runway is an elegant and damned seducer out of a film noir.
Cloaks and overcoats thrown over the shoulders envelop the Ermanno Scervino Man, disclosing new geometrical proposals that meld the rigour of impeccably tailored creations with the eccentricity of a man who thinks outside the box.
As the designer himself puts it:
“The Ermanno Scervino man doesn’t follow fashion, he studies it. He knows how to appreciate the story of hands and ideas that every garment narrates, a culture that makes him a trendsetter without undue formality or extravagance.”
The motifs of the male wardrobe are reinterpreted, proposing a style that showcases new geometries combined with each other in a harmonious whole.
Micro and macro all-over chequered patterns sketch out the silhouettes of overcoats, jackets, blazers, slim-fit pants, scarves and ties.
Houndstooth, contrast stripes, Prince of Wales, herringbone and bird’s eye patterns on wool and boiled wool fabrics and on felted knit fabrics worked unlined or two-tone bonded, also adorning maxi sweaters in alpaca and mohair.
The volumes of the outerwear are oversize, with the down jacket concealed beneath the parka in wool cloth, which becomes technical when bonded with fleece or comes out into the open embellished with fur.
For the evening, suits are introduced in unusual velvet combinations and chalk-stripes in felted knit.
The accessories follow the motifs of the collection. Footwear features the high-laced Derby with heavy-duty sole.
Colours paint out night shades: black, greys, midnight blue, at times lit up by hints of optical white, plaster, sky and cornflower blue.
I had a father, I am a father. My father, like me, was Sardinian from Alghero, an outpost of Sardinia right in front of Spain. He used to have a fabric store, fabrics meant for every occasion. Occasions when it was important not to look but give respect.
Dresses for parties, for engagements and weddings. Baptisms and confirmations. Funerals and processions. The store was in the center of the ancient part of Alghero, Via Roma 56.
In the long and deep workshop, the fabrics were carefully rolled on wooden shelves. For every person there was a fabric , just waiting for the right time to be chosen, to be sewn and take shape and life.
I’ve always poked around in my father’s shop, played with combinations of colors and materials, observed attentively the skirts and shawls of those silent and determined women who came to Alghero from the country to buy good clothes for special occasions and for the work, stuff that would last for decades, wear- resistant and weatherproof.
I miss the boxes of handkerchiefs for men that were then embroidered with the initials for the lucky ones, perfectly ironed into four equal parts by patient wives. My father always put the handkerchief in his breast pocket, right next to the heart…
I have always rummaged among the collection of ties of my father, fascinated by the same form that was repeated in endless patterns no one equal to another. I think of my father always with a cigarette dangling from his lips, like an actor or a sailor.
I kept the pieces of fabric from the workshop of my father. I kept his precious meters of wood that were used to measure the length of the fabric purchased. The length of a meter as the notches carved into the wooden counter.
Four feet for a pair of trousers with turn-ups and ten more gifted for soft spots, for possible errors of little expert hands. One meter and 70 for a double-breasted jacket and a one and 80 for a coat…
When everything changed, when the fabrics have given space to tayloring, when thought and slowness have been replaced by everything- ready-immediately, rush, speed and urgency, the shop has been replaced by clothes boutique.
I have chosen some of the fabrics among my fabrics preserved as relics and works of art. I have reviewed and reworked them.
Blue and doubled cloths, polka dot corduroy, technical cotton, jacquard jersey necktie fabrics, tartan wool, micropiedepoule, felted gabardine, double jersey, multiflower printed cotton drill, neoprene, chevron wool combined with melange jersey, necktie printed micro-canvas wool, canvas microcashemere print wool, liberty printed poplin, Oxford.
Sweaters with necktie printed jacquard, English stitiches with saylor stripes, Ireland tufted stitches, panels punched with men’s fabrics and fur. Traditional colors of blue and gray, cord and aviation. Aubergine, oil.
Volumes: oversized pea- coat, carrot pants, jogging with drawstring. Sailor‘s coats, jacket with quilted sleeves. Reversible jackets, traditional vests and cocoon sweaters.
“I wanted to sprinkle a little magic dust throughout the clothes in this collection, highlighting the idea of sartorial daring and masculine confidence that is integral to my vision, bringing it a new level – says John Varvatos – While working with KISS on my new advertising campaign, I was taken by how much everybody, regardless of their age, loves them.
For me, it is the idea of the superhero, a man in disguise with incredible powers, that makes the KISS myth so enduring and appealing, and it’s exactly that mindset that I wanted to explore, adding a dash of fantasy to my work while keeping tailored finesse and elegance high on the agenda. The result is energetic and strong, for a confident man who dares.”
The collection is characterized by movements that create a revolving sense of surprise. The silhouette is slim and elegant. Jacquard silk tuxedo jackets are worn with stretch leather jeans; double breasted flannel suits sport heather silk lapels, for a new vision of the tuxedo. Craft is hidden from intruding gazes, like a precious quality: embroidery under the collar of a jacket, tonal jacquards on knitwear.
Innovative weaving and expert treatments give fabric a feather-like, animal quality on tailored coats. The shimmering quality of metal adds toughness and a shine: embossed silver calfskin is used on the blouson, or as an armor patch on zip-up jackets that draw a superhuman figure; silver sleeves contrast the cream body of a motorbike jacket.
Silver toggle closures punctuate the outerwear pieces as visual marks. A fluid coat made of washed calfskin and wool has a certain severity, while cut-out fabric feathers swarm on the shoulders of the slim coat, making it ready for the stage. This succession of contrasts finally settles on the winter whites of double breasted coats, cutaway suits and shearling coats with a refined and martial allure.
The color palette is nightly and shimmering, with sudden surprises. Black, charcoal, silver, grey, either matte or metallic, give way to heather and light grey and finally open up to creamy white. Fabrics are masculine, with a tactile quality: brushed wools, flannel, washed calfskin, feather-effect weaves, silk and cashmere yarns.
Accessories include massive boots with thick soles, brushed leather boots with a shimmering effect, black lace-ups edged in white. Portfolio bags sport silver toggle closures, while oversized totes are painstakingly crafted. Modified top hats and sterling silver jewels punctuate the looks.