For his Pre-Fall collection, Antonio Berardi turned to the ’40s for inspiration, and to the idea of uniforms that working women wore at that time: “I was thinking of Rosie the Riveter, the American cultural icon which represented women working in ammunition factories during World War II, often replacing men who were at the front,” he said. It seemed a timely reference, considering the increased interest in feminism and discussion of gender roles in the media, yet the designer addressed such matters only obliquely, by way of his fascination for the 1940s’ empowering fashion style, which gave women a new, strong silhouette, conveying freedom and strength. An assertive look is always in favor chez Berardi, whose penchant for sculptural shapes and a fierce attitude is firmly ingrained in his aesthetic.
The idea of everyday utilitarian uniforms seems far from the designer’s style, whose polish is almost couture-like. Yet he was able to fit such references into his high-end approach, working around the masculine/feminine dialogue to which he’s partial, then adding his signature element of powerful sensuality. “In the ’40s, sheer nylon stockings were every woman’s most coveted item; it was very difficult to get a pair,” said Berardi. “They were the epitome of feminine seduction, together with the soft leather gloves which fastened at the wrist with tiny buttons, leaving a small peek-a-boo loop which exposed the skin.”
Berardi’s Pre-Fall look was as feminine as it was architecturally designed, rooted in the sharp tailoring technique that he has mastered. The flimsy gossamer of nylon stockings was translated into long goddess dresses finely draped in the sheerest jersey; the loop holes opening on a glove’s wrist became decorative cutouts on sculpted bodices and jackets, subtly revealing erogenous zones on the collarbone, along the spine and on the back of the hips. Masculine fabrics such as Prince of Wales checks contrasted with papery Japanese nylons for a dash of experimental flavor; gray thick wool felt gave a structured shape to coats and jackets punched with metallic rivets; and padded hips were added to a black cotton-wool dress to achieve a crinoline-like, rounded shape. The silhouette was kept sharp and precise, even when worked with fluid fabrics. Berardi’s strong style could give attitude even to the most self-effacing girl in the room. It’s not surprising that celebrities turn to him when they want to exude self-confident charm on the red carpet: Jennifer Lawrence, Jessica Chastain, and Cate Blanchett, not to mention Queen Rania of Jordan, are all fans. “I guess they all like my style also for its timeless glamour,” said the designer. “Today, everything has such a short life span, yet a well-designed outfit becomes more interesting with the passing of time. It’s like when a coup de foudre becomes a serious love affair—it has to be nurtured, and sometimes it takes longer than you thought.”
