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Russia, winter 1979: frigid polar temperatures meet the refined warmth of a cutting-edge fur coat. The Russian women seated beside the catwalk can now dream and imagine themselves, against the majestic backdrop of a snowy Moscow, parading in the company of new “Hussars” of premium pelts, from the creative genius of carlotivioli.
The designer’s hands mould the female body with red lynx and white mink cloaks: prestigious models appear, one after another, wrapped as if in clouds of dazzling light.
The idea of anti-luxury luxury, inaugurated in Rome on 17 July 1971, now propagates its elegant strength without borders or cultural barriers, through continuous expression and search for one’s self in forms that are always new but linked by a subtle artistic thread. And so it is that some time later in Milan, with the theme “Winter Palace”, echoes of Imperial Russia come back to life: greatcoats of velvet-processed wild mink, full and solemn, with jutting crests giving a square epaulette effect.
Time passes and the best, which would arrive with each successive collection, has become poetry of the fur that never loses its allure. The red flag at the side of the runway no longer exists, but the unmistakable carlotivioli style lives on, today like yesterday, and in the unceasing flow of high fashion gives off an aura of the eternal.
The idea of anti-luxury luxury, inaugurated in Rome on 17 July 1971, now propagates its elegant strength without borders or cultural barriers, through continuous expression and search for one’s self in forms that are always new but linked by a subtle artistic thread. And so it is that some time later in Milan, with the theme “Winter Palace”, echoes of Imperial Russia come back to life: greatcoats of velvet-processed wild mink, full and solemn, with jutting crests giving a square epaulette effect.
Time passes and the best, which would arrive with each successive collection, has become poetry of the fur that never loses its allure. The red flag at the side of the runway no longer exists, but the unmistakable carlotivioli style lives on, today like yesterday, and in the unceasing flow of high fashion gives off an aura of the eternal.
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Striped furs burst onto the high fashion scene of the 1970s, when bell-bottom jeans, fishnet stockings, skimpy dresses and patent leather shoes are in vogue. The rhythmic repetition of the lines, which parallel each other without ever touching, results in an innovative collection inspired by kinetic art, where everything is in movement and yet nothing seems to change.
The colours, so beloved in their purity and uniqueness, rise and fall as if on thin threads, flattering the harmonious female figure with their hues. Patterns typical of men’s shirts conquer furs, accompanied by the designer’s imaginative touch in the cuts and details.
These are the years of mink coats in the new manner of needle cord jeans, that make even the simplest, most hidebound women fall in love with them. Striped furs, covered with glittering plastic raincoats, follow multi-coloured chequerwork inspired by the polychrome city of Vasarely: collections that wear like a second skin, futuristic and at the same time consistent with the desires and tastes of the period.
Like the canvas of an artist, carlotivioli furs are painted, negating what appears superfluous and frivolous through the simplicity of stripes. As the gaze tightrope-walks the lines of his garments, the balance between perfect style and the adored plays of colour that characterise his artistic expression never wavers.
The colours, so beloved in their purity and uniqueness, rise and fall as if on thin threads, flattering the harmonious female figure with their hues. Patterns typical of men’s shirts conquer furs, accompanied by the designer’s imaginative touch in the cuts and details.
These are the years of mink coats in the new manner of needle cord jeans, that make even the simplest, most hidebound women fall in love with them. Striped furs, covered with glittering plastic raincoats, follow multi-coloured chequerwork inspired by the polychrome city of Vasarely: collections that wear like a second skin, futuristic and at the same time consistent with the desires and tastes of the period.
Like the canvas of an artist, carlotivioli furs are painted, negating what appears superfluous and frivolous through the simplicity of stripes. As the gaze tightrope-walks the lines of his garments, the balance between perfect style and the adored plays of colour that characterise his artistic expression never wavers.
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Designing the fur coat of the present by drawing the lines of its future evolution. When mostly flat and luminous fur is fashionable in the late 1970s, the woman is already wearing fur coats with thick black natural curls: masterpieces of high fashion and craftsmanship, winners in both creativity and personality.
The deep, almost austere black of the hot passions of classic, traditional Spain colours the refined “Andalusa” line of this breitschwanz redingote, enlivened at the edges by plays of giant ruches and flares that refine the garment and give volume to the entire figure. The idea of using waves of Valenciennes lace is outstanding: they chase the folds of the natural design of the Swakara pelts in irregular bounces, slimming the female body to perfection. The lustrous fur and satin blend splendidly with these elements, which almost seem to dance in an infinite harmony.
The coat, romantically high-necked, is immersed in black Persian lamb fur completely stitched with lace, like in an Andalusian night beneath the stars. Giving it the final touch, in this living work of art, is the black rose in the hair of the model who wears it. Seductive and luxurious, its cut recalls the classic dictates of the 1950s, interpreted in a new light: large, square shoulders, slim belted waist, calibrated widths.
Continuous sources of inspiration converge in the collection, where the importance of the past, the highest expressions of art and the sense of the beautiful mingle with the freedom of the designer, breathing life into an exclusive, unique garment.
The deep, almost austere black of the hot passions of classic, traditional Spain colours the refined “Andalusa” line of this breitschwanz redingote, enlivened at the edges by plays of giant ruches and flares that refine the garment and give volume to the entire figure. The idea of using waves of Valenciennes lace is outstanding: they chase the folds of the natural design of the Swakara pelts in irregular bounces, slimming the female body to perfection. The lustrous fur and satin blend splendidly with these elements, which almost seem to dance in an infinite harmony.
The coat, romantically high-necked, is immersed in black Persian lamb fur completely stitched with lace, like in an Andalusian night beneath the stars. Giving it the final touch, in this living work of art, is the black rose in the hair of the model who wears it. Seductive and luxurious, its cut recalls the classic dictates of the 1950s, interpreted in a new light: large, square shoulders, slim belted waist, calibrated widths.
Continuous sources of inspiration converge in the collection, where the importance of the past, the highest expressions of art and the sense of the beautiful mingle with the freedom of the designer, breathing life into an exclusive, unique garment.
