The Fashion Businessof this was proposed a year later by Linea Maglia. A Spagnoli cross top, in
azure blues, was decorated with a ‘worked edge’ and worn with plain capri
pants. It is described as ‘knitwear for elegant occasions’.^47 In the same issue
there is an article featuring city dresses and suits in jersey wool for the first
time.^48 The Veneziani Sport model is especially elegant, yet relatively
unrestrictive. A simple mustard dress with a stand-up collar, belted waist
and three-quarter sleeves, it was designed by a couturier for ready-to-wear
production. Also featured are high-quality ready-to-wear city suits by Avolio,
Modella and Wanda. All are loosely fitted and simple in effect, yet with
interesting detailing, such as contrast collar and cuffs, a Chinese-style collar
and check fabric jacket edging to match the skirt. Although the feature is
shot in monochrome, the colours ‘strawberry pink’, ‘green and maroon
stripes’ are stressed and are clearly a selling point. These examples indicate
that the properties of knitwear, previously used predominantly outside fashion
for practicality and warmth, now offered the key stylistic elements noted in
Italian fashion success. Moreover, it could also bridge the gap between formal
and informal wear.
Women’s Wear Daily drew attention to boutique as early as 1951, the
year of the first collective Italian presentations and it is generally mentioned
with greater enthusiasm than the couture. At the beginning of the 1960s,
Emilio Pucci was interviewed by Women’s Wear Daily about the future of
Italian fashion, and offered his perception of Italian style, under the revealing
headline, ‘Pucci Sees Couture Doom, [and] Ties High Fashion to Ready-to-
Wear’.^49 The journalist stated that ‘Mr Pucci has a very definite idea of what
the immediate future cycle will be: an increasing trend towards the casual
look.’ Pucci defined this, saying, ‘casual to me means a woman who perfectly
co-ordinates her clothes but still gives the air of great nonchalance’. The
implication is that the essence of Italian boutique style rested not only on
fresh simplicity, but also on the appearance of indifference created with the
utmost care. By this time, the disparity between Italian style and that
associated with Paris was increasingly evident. The distinctions were captured
byWomen’s Wear Daily two years later in 1962: ‘The French base design on
formal, elaborate indoor parties, the Italians stress the carefree outdoor life,
against a backdrop of nature. For the gala evenings, the “important” dress
must come from Paris, for the unconventional parties one should wear Italian
clothes’.^50
47.Linea Maglia, Autumn 1956, pp. 52–5.- Ibid, pp. 36–9.
- ‘Pucci Sees Couture Doom, Ties High Fashion to Ready-to-Wear’,Women’s Wear Daily,
25.10.60, p. 26. - Massai, Elisa.Women’s Wear Daily, 20.7.62, page unknown.