From the Neapolitan tailor’s art to the Japanese denimtillverkning. J. lindeberg Pierangelo design Director D ‘ Agostin has tried almost everything in the fashion world. In an interview with Manolo, he talks about his views on today’s fashion, the art of combining functionality with style and legendary brand hLam.
It is a very impressive career Pierangelo D ‘ Agostin made. In addition to jobs that Neapolitan top tailors Cesare Attolini and Savile Row Gieves & Hawkes Pierangelo has been Chief Designer for Jil Sander, Loro Piana fabrics developed developed yarns for Malo and designed for Italian Hatter Barbisio today responsible for j. lindeberg new design language. But the mark may be primarily associated with Pierangelo is almost legendary hLam as Pierangelo ran together with his wife Gunn J..
“It’s strange, but almost every time I meet people in this industry so will hLam speaking. To have been a small and short-lived mark as it is pretty unique. For me, it was an absolutely amazing time where there really was room to experiment and develop a unique design language. We looked not so much on the price tag, but used only by the very best producers and mills. I could really benefit from everything I learned.From Japanese jeans manufacturing to tailoring the art of Attolini.Many of my friends are still talking about how much they like their garments from hLam, which to me is the best grade a designer can have.
The mark reached great success in Japan with several stores, but were also represented in the United States and many of Europe’s fashion capitals.Unfortunately, it eventually became too expensive to drive the project forward. The brand’s free non-structured jackets tailored design with fully live, however, remains in much of the Pierangelo produces today.
-We did everything With hLam unlined and okonstruerat to really let the materials take place. When did all that was strange. No one wanted to pay more for less fabric, when in fact it is a much more expensive process to manufacture unlined garment. Today there is hardly a single manufacturer that doesn’t try to make unlined jackets.
Another thing that is clear about your design language is the relatively short coats. What will this detail from?
-I started with it for over 15 years ago. Then, the market was not quite ready. But for every season I could hijack I about 1-2 centimeters until I found the right place. And actually it is very simple, it is all about functionality. When you’re in a car or on the subway, you don’t want to have to put you on the jacket. We need only rarely with the slit without the jacket must be shortened to get to full mobility. And today they have shorter lengths are closest to become standard for the Blazers.
Pierangelo grew up in the Italian town of Biella, a town of about 45000 inhabitants in over 2000 years has been the subject of occupation and war.But also a pillar of Italian fabric industry. In the outskirts lie some of the world’s leading Mills such as Carlo Barbera, Zegna and Vitale Barberis.And fabrics is a topic Pierangelo constantly returns to:
-I try to spend as much time as possible at various mills. You must at all times have the fabric as the starting point for the final product. In many cases, the fabric replace and reinforce many of the structure’s properties.
Pierangelo catches sight of my Blazer from Barbisio which he himself has designed:
-It is a typical example where the fabric is given a crucial role for the garment’s shape. I wanted to create a completely unconstructed Blazer that fölljer in a natural way the body’s movement. Instead of giving the garment shape, inserts, we took together with an Italian weaving mill produced a very compact fabric in pure cashmere that naturally has a slightly curved shape. If you stand straight up with the forward-leaning your arms you will see that the garment clearly follows the body. It also allows the fabric better adapts to the carrier and get a better fit.
Exactly where Pierangelo gets his inspiration is a little unclear. Unlike many designers throw themselves Pierangelo not with key sources of inspiration or references to style icons. Every now and then it pops up stories like how he at a parking lot in the Italian Alps, came up with the idea to develop the above mentioned tools. But he dislikes being called for a fashion designer but sees itself more as a product designer.
-There are a few modedesignerns who really knows how to create attention-grabbing Collections. McQueen was one of them. But I see this as a very small part of courage. Where is considered fashionable more as an art form. Unfortunately it is a predominantly large part of today’s fashion that completely lacks functionality.
But can not overly focus on the technical and functional to remove the feeling of the clothes?
-My whole approach to design is to combine functionality and aesthetics.But they breed in many ways, of course, also each other. The details we currently talk about which style details has historically come to in order to solve a technical problem. Unfortunately, I notice that many today are afraid of new functional details. Why not put an extra pocket on the inside of the jacket if it doesn’t interfere with? One day you are there and need it. With the lindebergs upcoming jackets we have to some extent tried to replace the bag. I hate myself not being able to have my hands free. Therefore, we have designed the jackets with room for a thin laptop and a newspaper.
-For me the function of something beautiful. It is also distinctive for all the really good producers. They never compromise with functionality without the wearer is always in mind, from the choice of fabric to the very last stitches.