Armani's idea became a reality in the 1980s, and the revolutionary designer became arguably the most important name in menswear history as no other designer has ever completely changed the cut and fabric of menswear. In his bespoke collection, suits and jackets are made from the soft fabrics of traditional women's wear, such as fine wool, crepe, high-twist yarn, haute twill, velvet, lightweight lamb wool and cashmere. In colors, he chose soft brownish-yellow, olive, 雰 gray, light apricot, livid gray and tobacco brown. He also experimented with three-dimensional tailoring (as the British had done in the early 1930s), which left a small amount of excess fabric on the chest, shoulders and back to create a ripple in front and back of the body when worn. The sleeves have been widened slightly, and the pockets on either side have been moved down slightly.
This rather bold initiative created a looser, softer and gentler looking bespoke garment for the modern man. He himself continued this style for many years. Until the summer of 1994, when he launched his' New Form 'collection, Armani opted for a slimmer, more structured coat cut. But by this time, Armani's place in history was already firmly established. Comfortable cuts, flattering colour combinations, soft lines and fabrics have brought a new international look to menswear - and it's all thanks to Armani. The rigid, heavy, stiff and sunny Victorian men's suit has finally been swept into the dust of history. Armani will be remembered for this liberating revolution, and everyone from menswear designers to customers will be grateful. In the development of modern fashion, the pursuit of comfort is a major driving force, and Armani has played a very important role in this. It is because of him that the clothes we wear now are so light.
Neapolitan tailors have finally caught up with The Times and are playing with comfort and softness. In fact, they began to try to deconstruct fashion as early as the 1930s. Oddly enough, the mission of history ultimately fell to Armani, a designer from Milan who only introduced ready-to-wear to the world in the 1960s. That's what Gennaro Rubinacci and Attolini of Naples started doing 30 years ago. Had Armani ever heard of such attempts by southern designers before World War II? In any case, since the 1980s, brands like Lubinacci, Antolini and Keaton have also made their way into American hauptmenswear stores.
At first, American men understood the design of the new jacket perfectly - naturally unpadded shoulders, a "clean" cut bust, open cuffs, a shortened length, a front cut from the chest to the hem, and no lining. By enlarging the cut and using soft fabrics, Armani made the jacket more comfortable. Neapolitan cutting masters went a step further in deconstructing clothing for comfort. They dispense with complex basic deconstruction, and they make a more comfortable coat just like a shell. After trying it on, Americans immediately felt its lightness and casual elegance. That's what the Neapolitan designers were after -- a jacket that was light and comfortable, but still straight and sleek.
Tradition also plays a role. Neapolitans are well versed in the traditional English tailoring - for centuries, wealthy English children have made a stop in Naples on their study Tours - and appreciate the cut of the English coat. Why would Gennaro Rubinacci, one of Naples' most famous tailors, name his shop "London House" if he were not so interested in English style? However, the English cloth and heavy padding would not be worn in the hot and humid Mediterranean region. So the Neapolitans tried to improve these structures. Release the cuff, giving it more flexibility to use longer darts to shape the chest and hem, thereby eliminating the need for padding to widen the shoulder, allowing the shoulder to meet the sleeve, and eliminating the need for the shoulder pad to replace the full lining with half lining at the end. Such jackets look slimmer from the outside, but they are looser to wear.
