In the fifties, in a country that rose back from Word War, a great creativity invaded every sector of culture and daily activities and, as such, also the artisan production of tailored made.
Under this influence finds birth the label, that only in the eighties will be so well defined as the Made in Italy.
Tailors of that époque, not designers but artisans,were the true pioneers that conquered a market where it was commonly believed that male elegance could be supplied only from England whilst female’s from Paris.
Their expertise characterised by a technique and an extremely precise and refined manual skills, combined with up to date textures, produced a fashion that imposed itself world-wide in cinema, politics and social life.
Everyone wore exclusively Italian, in easy going and soft clothing where the combination of materials, colours, and dressmaking were often under discussion, fearless of any transgression.
In this atmosphere came by the seventies, period that saw the emerging of a new profession yet unknown to the Italian culture, the STYLIST-DESIGNER who took care of the ready to wear fashion.
The tailored suit was considered hence on as a privilege of who could afford its cost. Individual labour, the hand labour, was overcame by the industrial one. The tailoring trade, the one made with a needle and with scissors, lost its significance and was deprived of any economic capacity; yet these master tailors and artisans, lovers of their own trade, continue to hand on the Italian Style world-wide. Again in the eighties, there was a triumph of the Italian fashion. In the nineties a new way of conceiving fashion became more pressing; the recognition of the artisan merits was combined with an industrial production characterised by a limited number of pieces produced embodying the precision and the taking care of the detail, typical of the artisan world. Even if late, the conviction that manual labour only can produce style started to impose itself.