As everyone knows, I often visit young designers, and when I saw a jacket with a fabric that looked more like a Napoleonic Guard ceremonial set, I pointed this out to the designer: ‘I like this bomber with these fabrics from the 18ᵉ century to the 19ᵉ because it gives the buyer something to think about. Indeed, it is always reassuring to think that, in a garment, there is a bit of history from the past.’ The designer looked at me with an interested expression, because in fact she hadn’t thought about it, she’d done it instinctively, as artists often have this instinctive vision of the world of the future. It is no doubt commonplace to observe that modernity gives tradition a bye, and to say that the modern is the era of the new or of renewal; it is a little less so to explore this assertion in greater depth and to grasp the twofold gesture that constitutes its substance.

The new of modernity to dismiss the old, for a gesture of rupture, a caesura without appeal. But in the same way that Lord Arnault said to Steve Jobs: ‘You have the technology of the moment, while I am selling the heritage of France’. Modernity begins when it reflects on its separation from the previous world and culture. The thread of tradition is broken, and supposedly cannot be renewed, but as the sentimental man that I am knows, we always need a bit of the past to appreciate the future, or to hate it.

Take a close look at John Galliano’s clothes, which are always inspired by the Granville master. Other designers do the same; Gauthier, for example, with his pointed breasts, has imitated Schiaparelli,… and many others. The foundation of a garment is often a nod to the past, which is probably the source of its success.

FM

Dgena Jacket
2025 Collection