AFTER KALEIDOSCOPE

 

Reactivating the exhibition forty years on has transformed it into a kind of readymade, imbuing it with a different significance and encouraging reflection not only on the processes of fashion – which in the case of fur have remained largely unchanged – but also on the ways in which we might relate to fur as an object today
Where the 1985 hexagonal installation housed suggestions of inspirations and hues in each of its niches, the current space (an octagon with six niches and two openings) has been designed to display the objects that emerged from those ideas, experiments and processes. The aim is to show how layers of technical expertise, creative talent and meaning culminate in a form of craftsmanship unique in its ability to reshape materials and forms, finding its fullest expression in the complex realm of immaterial design
(2026)

Presented within an open hexagonal space, a snapshot of five collections that sums up the processes explored in previous sections of the exhibition. In each case, a single source of inspiration brings together ideas, techniques and emotions within a shared creative vision: the walls of Rome (1978), which inspired treatments and dyes ranging from pinkish yellows and rust tones to amber and rich brick reds; the Macchiaioli (1982), which pioneered the use of different color combinations on a single fur to create an impressionistic effect; the skies of the world (1979), which bathed furs of all different kinds in vivid reds and blues; and black, a constant throughout every collection, brought to life through subtle plays of light created by the varying sheen of the fur
(1985)

THE 1985 ROOM

"Labyrinth" coat in Persian lamb, front and reverse technique

Persiano

“The Skies of the World” collection, F/W 1979-80

Reversible hip-length coat in blue-green Persian lamb. The generous, sculpted silhouette fastens at the front with a tie that draws the overlapping fronts together beneath wide lapels. The sleeves are rounded at the shoulder to follow the “Labyrinth” motif that structures and defines the garment. Created using the intarsia technique, the pattern is achieved by cutting and reassembling the pelts, alternating the leather and fur sides. The same process also produces a second version with the motif reversed. The design is inspired by the hedge maze at Hampton Court Palace, created in 1690 in honor of William III of Orange

Jacket in Mongolian lamb

Mongolia

“The Skies of the World” collection, F/W 1979-80

Short jacket in Mongolian lamb featuring a polychromatic palette inspired by the colors and atmospheric conditions of skies around the world. The collection's press release includes names such as Fog in Milan, Haze in London, Night in Tokyo, Noon in Saint-Germain, and Twilight in Venice. Slightly flared in silhouette, the jacket fastens with a row of leather ties. It features a shawl collar and long, full sleeves. The dynamic pattern of alternating colors is created by stitching together strips of fur dyed in different shades

“Fireman” dress in matelassé suede and Mongolian lamb, belt in suede. Matelassé satin scarf, heritage reproduction

Pompiere

“The Skies of the World” collection, F/W 1979-80

Knee-length dress with a fitted bodice in matelassé suede in the “Waves” pattern of undulating vertical lines. The raised collar, with sculptural pleats, is designed to secure a quilted satin scarf featuring the same motif as the bodice. The narrow waist is defined by a matching suede belt, while the voluminous Mongolian lamb skirt accentuates the dress’s hourglass silhouette. The garment and its accessories are all dyed in the shade “Sunset in Rome"

Jacket in shearling with vair appliqués, “Clouds” technique

Vajo

“Earth” collection, F/W 1984-85

Hip-length jacket in shearling with a raised rounded collar, hems, and intarsias in shades of brown vair. The jacket fastens with four buttons and is fitted at the hips with an integrated belt. The body and generous raglan sleeves feature the "Clouds” motif. As stated in the collection’s press release, Earth itself is the ultimate source of inspiration: “A thousand ideas arise from its rounded forms and its countless structures and surfaces. […] Reflected in a single material – fur – all the possibilities of the universe”

Cape in vair

Mantella

“The Macchiaioli” collection, F/W 1982-83

Voluminous vair cape in nuanced shades of brown. Reaching the knee, the garment fastens at the center with a row of concealed hooks extending from the raised collar to the hem. The natural markings of the fur are arranged to create a graphic chevron pattern across the rounded silhouette while its palette evokes the sunlit landscapes that frequently appear in the paintings of the Macchiaioli

Coat in ermine

Ermellino

“The Macchiaioli” collection, F/W 1982-83

Knee-length coat in burnished ermine with a horizontal white band across the bodice. With generous sleeves and a raised collar, the garment is constructed by assembling rectangular sections of fur with alternating directions, creating a trompe l'œil effect of matte and lustrous stripes. The pattern is inspired by the brushwork of the Macchiaioli, the group of artists active primarily in Tuscany during the second half of the nineteenth century from which the collection takes its name