Praise for the heirs: Tommaso Aquilano and Roberto Rimondi at Gianfranco Ferré

Dying young or while still working at their collections is often not only a tragic event on a human level for fashion designers but also a disaster on financial and creative levels. The original ideas of that particular fashion designer die with him and choosing a follower able to pick up his heritage and bring it forward is usually daunting. Italy had to deal with a few of these cases: from Enrico Coveri to Gianni Versace, from Moschino to Gianfranco Ferré. But, while in some cases the fame of the late designer was successfully resurrected thanks to talented collaborators or astute family members, Ferré’s fashion house went through a period of agony.

Ferré’s fame, his refined style and his garments characterised by an impeccable cut, made it difficult to find too soon a likely heir to continue his tradition. Hope was seen with the appointment of Swedish designer Lars Nilsson as creative director. But, hailed as the saviour of the brand, Nilsson was fired soon after his debut. According to some, his major sin was not having respected the basic codes of Ferré’s style; rumours insinuated instead that Anna Wintour's dislike for his work was the real reason of Nilsson’s dismissal.

With such a troubled recent past, it must have been difficult for 6267’s Tommaso Aquilano and Roberto Rimondi to accept on the spot the duty of updating the womenswear collection of a brand that had already lost a great part of its appeal even before Ferré died last year. But the design duo successfully proved they have enough fresh ideas, talent and respect to project the brand into the future and become the official heirs of the great Gianfranco.

Debuting at Palazzo Gondrand, Aquilano and Rimondi based their collection on geometrical forms and architectural shapes. In a way, this must have been a tribute to the master – an architect himself – but the clear and sculpted silhouettes had something refreshingly new about them. Four main colours – black, white, grey and nude – were used throughout the collection that presented jackets with sophisticated structured shoulders, blouses with ample sleeves that gave the impression the models were going to take off as they moved, skirts with built-in arches, ruffle-front skirts and tops with fluid organza motifs that floated like a sail in the wind.

Swarovski crystals and Plexiglas beads were the main opulently decorative elements, echoing that rich and voluptuous style Ferré developed while working at Dior’s, but as a whole the collection didn't present too many excesses and was quirky and wearable at the same time. Aquilano and Rimondi also studied the importance of the accessories in Ferré’s history: the late designer started his career designing belts and jewellery and at yesterday's catwalk some linear but rather appealing belts with metallic details or studs appeared. Architectural shoes with circular high heels that produced a great cut-out effect completed the look.

Tommaso Aquilano and Roberto Rimondi must be praised for having followed a logical method in creating their collection for Ferré, while also avoiding to fall into the trap of abstract simplifications and managing to produce a very personal collection which is also a great tribute to the famous Italian "architect of fashion".