Ermanno Scervino (Q3051)
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Italian fashion house
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Ermanno Scervino |
Italian fashion house |
Statements
The Ermanno Scervino woman is a bon ton girl with a rebellious edge. She isn’t afraid to show her romantic side, nor to play with seduction or embrace structure, because she does it with a sense of lightness and confidence. She is ultra-feminine, but with nonchalance. “Today's woman explores the contradictions of femininity, and that’s what makes her modern. She isn’t influenced by what she wears, but rather, she uses it as a tool to highlight her personality,” said Scervino. She wears embroidered nylon bombers or suede Sahara jackets, as well as lace Sangallo slip dresses or tulle gowns adorned with sequins.Denim has always been a symbol of freedom, a statement of revolutions and pivotal changes. But in Ermanno Scervino’s spring 2025 collection, denim was not actually denim: it was an optical illusion. Silk, cotton and neoprene were printed to mimic denim’s texture, thanks to extraordinary techniques that echo couture-level craftsmanship. As a young man, Scervino wasn’t allowed to wear denim, so he found the perfect way to bring it onto the runway as prêt-à-porter. He also did this with scuba-style Montgomery jackets, tailored suits with a ’70s cut, glossy trench coats, and flowing chiffon dresses and devoré gowns with abstract floral patterns.The color palette ranged from white to black, mint green, pastel yellow, peach pink, and the signature blue of jeans. Knitwear continued to be a cornerstone of the brand's aesthetic, but in a macro-crochet version it took on a youthful character, exuding effortless chic. The attention to detail showcased how the brand’s exceptional craftsmanship has become synonymous with the freedom to experiment. The chiffon rose embroidery, found on dresses and accessories alike, reflected an impressive level of care, dedication, and refinement.
21 September 2024
When it comes to Ermanno Scervino’s designs, nothing is left to chance: the designer has always been fascinated by denim, perhaps not surprisingly considering his dad never allowed him to wear it when he was younger. It’s a perfect recipe for an obsession to grow. His plan to master the techniques around it is how the resort collection became an ode to blue jeans.From classic denim to elegant marocain printed in light and dark colors, Scervino skillfully reinterprets tradition, blending modern investigations with a sharp focus on accessories. “We like to experiment with new materials and realize unique details,” he said while going through denim mules and woven cruise bags. “This season we played with new ways of working with raffia, through intricate embroideries that enrich cardigans, boots, and skirts, as well.”A floral theme emerges with intensity, defined in different color combinations and techniques that lend dimension and movement to the garments. Embellishments of handmade poppies showcase traditional craftsmanship, but also “a flower that I’ve always liked as it represents resistance and freedom,” the designer explained further.Scervino took icons like Bianca Jagger and Jane Birkin as references. He called the 1970s “a decade of change, rebellion, and free love: a perpetual inspiration and reference to my creative process.” Cargo trousers are protagonists as much as silk crépon and light macramé dresses.
4 September 2024
Ermanno Scervino called his fall collection Fashion Atlas, a sort of map whose cardinal points were the shapes of women’s bodies, which were mainly intended as an expression of strength. The silhouettes were strong and enhanced, such as that of the blazer in the first look that was incredibly tight at the waist (although Scervino didn’t use any constrictive internal structure, because he wanted the garments to be easy to wear). Even though sensuality was a focus of this season, one recurring element was traditional woolen menswear fabrics, such as pinstripes and herringbone. They were used for pieces like bedazzled crystal-covered outerwear and blazers in which male and female were blended.Among the best of the collection were the shearling proposals that were fully hand-embroidered to create tricotton sur tonmotifs, shown with coordinating après-ski boots. Corsetry—one of the most recognizable Scervino touches—came in quilted light pink satin, sensual yet romantic, and a more fierce interpretation in a crocodile-effect leather that used the craftsmanship of Tuscany, an essential element for a brand so rooted in traditional handmade heritage. The artistry of craft techniques was also on display in very thin wool, used to realize enveloping bustier dresses, together with the matching and more masculine coats made of the same material but thicker. Scervino also made use of lace, both as appliqués and as intarsia elements, as well as tulle enriched with sparkling crystals.The collection was modern and contemporary, without being dusted by a patina of nostalgia.
24 February 2024
“High tailoring” is the phrase that describes the pre-fall 2024 Ermanno Scervino collection. Among contrasting shapes, tridimensional surfaces, and neutral, classical evergreen tones, the brand, founded in Florence in 2000, is known for classy and, at the same time, easy-to-wear proposals. Still, being easily wearable doesn’t mean Scervino’s garments lack attention to detail: instead they are incredibly precise without losing the delicacy the label is known for.Outerwear played a crucial role in the collection, including light overcoats in microfiber proposed in dusty pink and warm brown with a floral motif fully quilted to give the romantic touch that’s so dear to Scervino. There were also wide and relaxed coats—a Montgomery and a trench. The focus on the sartorial side of a wardrobe was evident even through suits in cady treated to look like denim or presented in a shiny silver-sprayed herringbone fabric, for a more glamorous look. Leather—an element that immediately recalls Tuscan craftsmanship and traditions—was another strong presence in this pre-fall collection, both in a soft, pastel-tinted variation, mostly chosen for structured trenches, and also as shorts and midi A-line skirts that were a hymn to the ’70s. Relaxed and ample trousers represented the final expression of this ode to tailoring with a firm diversion towards a more masculine closet. Once again, traditional cuts were the rule among high waists and thick, woolly fabrics that created an alternative with a cream-colored corduroy ensemble. The most glamorous, sophisticated part of the collection was surely the animalier print found on floaty long dresses, sherpa trench-coats, and wide pants.
13 January 2024
Below the ancient pillars and arches of Milan’s public university (one of the largest in Europe), Ermanno Scervino showed One of a Kind. The spring 2024 collection was “a love letter to craft,” as the designers Ermanno Daelli and Toni Scervino put it, an ode to the encompassing beauty of fashion and craftsmanship. Glimpses of nudity were graceful when combined with high-quality fabrics and floaty volumes. “We don’t like when clothes become cages to a woman’s body,” the designers stated.Silk became ethereal and suede added solidity. Light blue was used on A-lines and spring-y appliqués made of tiny organza petals scattered on knits and generous cardigans or utilitarian parkas. It was also there in denim that instead of being actual cotton was made of crepe de chine, a different take on trompe l’oeil materials. What might have looked like golden lace was an embroidered textile instead, proving that the duo knows the craft they are talking about. Organic-shaped glasses were shown with business attire blazers, giving the looks a twist without ruining their sartorial nature.“I am very attached to these accessories,” Scervino explained, “as our work began by producing bags and shoes, and lots of people wanted us to stick to those two areas as a brand when we, at the beginning, decided to invest in a full wardrobe.” Raffia satchels and pale-colored footwear were the icing on the cake; cat-eye sunglasses and long golden necklaces were also strong. For shoes, there were no half-measures: It was either flat and grounded Greek sandals or sky-high heels with huge platforms. “Fashion is inventiveness, handiwork, artisanship, and excellence,” said Scervino.
23 September 2023
Nineteenth century author Guy de Maupassant was almost as well known for his constant travels (which boosted his creativity) as he was for his literary output. “Travel is a door that opens from the real world into a world that is yet to be discovered and seems like a dream,” he said.That idea was the inspiration for the Ermanno Scervino 2024 resort collection. The designer has had many exchanges with cultures near and far, experimenting with what is closest to his heart: textile research and artisanal techniques. The Marocain—a coarse grain crêpe, often a main feature of Scervino’s collections—was printed here in a denim effect on tops, trousers, skirts and coats, ever so light.The python print was a standout—blue, green, ivory—airbrushed on lace pieces and digitally printed on recycled fabrics. The same exotic tones were found on bags, mini and maxi, often worn in pairs. The classic pieces of the brand’s wardrobe go perfectly with the idea of the traveling muse: blazer-suits, bandeau corsets and longuette skirts, and Nappa leather jackets with laser cut details all looked ready for adventure.
6 July 2023
“I took inspiration from an icon, but I didn’t want to be vintage,” said Ermanno Scervino in the halls of the Società del Giardino, a stone’s throw from the Duomo. The collection sprang from his love for cinema and a casual conversation between Scervino and a costume designer, reminiscing about Ava Gardner’s unrivaled sensuality. The hourglass silhouette was the reference for the dresses on the catwalk. Micro dresses of couture construction with triangular bras and sculpted hips enhanced the model’s curves; diagonal cut jackets had emphasized shoulders and tight waists; evening gowns featured tulle, lace, ruffles and crystal appliqués.Oversized masculine shapes were found in the sheepskin jackets and worsted wool coats that showed off Scervino’s manufacturing expertise and detailed decorations. Sequin studded pants, one of the brand’s classics, were presented in lime. Velvet sheath dresses were made to resemble a washed out denim: “I took inspiration from my favorite pair of jeans,” said Scervino. When it came to color, Scervino went head-to-toe: A ruby red total look was worn by a model with the same color hair.
25 February 2023
Ermanno Scervino wants to return to a clearer division between his pre- and main collections. This one is going to fill the shop shelves, then the main line will be very atelier. “There will be time to think about eveningwear, now it’s all about casual and easily wearable clothes,” said the designer.But that does not mean there is a lack of workmanship. “I worked on the preciousness of the details, the real sophistication for me today is to create clothes that seem very simple, but are not.” Day suits, for example, have a loose effect, yet the width of the trouser leg is contrasted by the narrow waist of the blazer. Other trousers are inspired by tracksuits, but with seams in the right places to ensure a perfect fit. The down jacket, likewise, is far from classic; it is oversized but still well-shaped.Scervino has spent a lot of time in St. Moritz and Cortina and he took style inspiration from the mountains. There is a certain idea of the high-altitude lifestyle that is working globally, from the chalets in the Alps to those in Aspen, where the stars were photographed non-stop during the week between Christmas and the new year. His shearling jackets decorated with floral embroidery in raw wool threads look very light, but inside they are lined with cashmere wool. Not so simple at all.
3 January 2023
It’s not a country for old men. Even Ermanno Scervino, a brand that has always celebrated Italian style in its most classic form, is today focused on the young. For spring, designer Ermanno Daelli said he wanted to think of the younger generation by applying his mastery to a more playful approach to dressing: “Girls are girls: They rightly want to discover themselves, feel free, experiment. That’s why I wanted to play with tops and short skirts, but most of all I focused on technology.”The collection was full of workmanship that required new studies, several trials, and the patient awareness that fashion is always in motion and real change often comes from the production departments. So what was once a corsetry company has now learned to work with synthetic leather, while still searching for an alternative term after Italy banned calling synthetic materials that imitate leather “leather.” The result is a soft, lightweight material here used for a double trench coat over which floral motifs were embroidered, and other pieces in the collection. “The only natural leather I used was for the cream-colored pieces, because the dye didn’t convince us,” said Daelli. “We’ll see what happens with the next trials.”Experimentation continued on the evening garments: sheath dresses, skirts, and jackets completely covered in transparent sequins for a liquid effect. Knitwear became almost grunge thanks to encrustations of sequins. The print of the season was camouflage in cream and beige, the jacket a kind of utilitywear version in waterproof fabric with patch pockets. Finally, macramé lace, a hallmark of Scervino, was superimposed on chiffon with heat-sealed micro-crystals and worked in patchwork, yellow, pink, and beige. Very Barbiecore.
24 September 2022
Ermanno Scervino’s look book was shot in his Florentine villa’s botanical garden, where he collects ancient fruit trees; it’s a biodiverse paradise with a bounty of rare, in some cases extinct, plants, whose seeds he often gifts to friends. Spending the lockdown in such blissful seclusion was certainly a privilege, one he’s “incredibly grateful” for, he said. But those blissful surroundings notwithstanding, working on the collection proved challenging.“Factories were all shut down and the artisans I always collaborate with had to work from home. I’m so proud of them, they really went the extra mile to get things done on time.”Intricate embroideries, elaborate lace intarsias, and hand-crafted appliqués are an integral part of the hyper-feminine style Scervino favors. The lockdown didn’t dim his penchant for seductive embellishments, and resort offers plenty of his signature romantic pieces, made in airy white cotton muslin trimmed with delicate Chantilly lace. Snow-white whimsical dresses are flounced, plisséd, and frilled; masculine pant suits are cut from alabaster-white broderie anglaise; and soft tailored blazers in ivory macramé lace are worn over matching short shorts. Animal print contrasts with the virginal palette, adding a jolt of sexy glamour. “It’s a mood-booster collection, intended for many different types of women,” said the designer. “Just like in a garden, variety is what makes it beautiful.”
16 July 2020
Sensuality is a trend Ermanno Scervino doesn’t need to tap into—his penchant for a womanly woman has always been there. “Give them ammunition for classy seduction” has been his enduring mantra, and many customers are apparently on his side: Being helped in seduction tactics by an understanding designer who provides a wardrobe fit for the task saves a lot of time and energy. There’s nothing to feel guilty about it, is there?Fall didn’t stray from familiar Scervino territory. The Florentine designer played on his favorite masculine-feminine dynamic, offering his tried-and-true opposites-attract recipe. A masculine coat paired with a hyperfeminine dress is always a sure hit chez Scervino, hence there were strong propositions in the coat department. Shapes varied from ample, enveloping, and slightly oversize—cinched at the waist with leather belts for contour-enhancing purposes—to straight-cut and masculine in checkered Prince of Wales wools to highlight a sartorial appeal. Yet Scervino’s idea of tailoring doesn’t exactly belong to Savile Row orthodoxy. He lavished pantsuits (worn with matching brassieres) and double-breasted coats in dry textured wool with golden crystals.A dash of animalier is an essential part of the seduction arsenal; Scervino provided a good option via a slim, fitted wool coat, printed convincingly with ocelot spots. It really looked like an actual fur coat and felt heavenly soft to the touch.To be worn under the masculine coats the designer favors, slip dresses were his go-to favorite solution. They were offered in many iterations, made with macramé-encrusted black eco-leather for a tougher look, or cut lingerie-style in finely embroidered luscious white silk satin, a bit virginal and ingenue. Playing angel or devil: Scervino seems to understand that contrasts and contradictions are the salt of the earth—and of women too.
22 February 2020
Ermanno Scervino riffed on contrasts for pre-fall, a not-unusual approach for the Florentine designer, whose collections often revert to a (very) feminine take on fine masculine tailoring. Among his staples are classic Prince of Wales citycoats and sartorial blazers scattered with shimmering crystals or encrusted with Chantilly lace. There are plenty of women who love a good sparkle—even in the boardroom.To highlight the contrasting game Scervino favors, the collection played mainly on a graphic black-and-white palette. Silhouettes were feminine and prettifying, and the designer treated masculine tailoring with his typical soft, sensual edge, juxtaposing houndstooth and checkered wools for a layered look. Here and there, he added sporty accents, as in track pants paired with a softly structured blazer and a crisp shirt embellished with macramé.Black patent eco-leather had a sexy feel. Scervino can make even a puffa look seductive; see the python-printed oversize piumino worn over a matching mini suit. On a similar note, black eco-leather leggings looked cool paired with a romantic off-the-shoulder and ruffled white blouse. Fur was proposed in hyper-feminine shapes yet made in eco-conscious materials; a white round-shaped teddy coat felt heavenly to the touch, cozy and comforting yet glamorous à la Scervino.
15 January 2020
At every Ermanno Scervino show we watch the finale while listening to the Stylophonic lyric: “If everybody in the world loved everybody in the world, what a glorious world this could be.” That sentiment is, you know, just so darned beautiful when you apply it to people. But imagine if we applied it to things, art, food, music, or—God forbid—clothes: that would be horrendous.Liking some stuff and disliking other stuff is both a by-product and definition of individual identity. And knowing and loving stuff by the people you live among is cultural identity. If we lovedeverything, then we’d lose our identity both individual and cultural. Not that hating stuff you’re not into is reasonable, oh no—respecting difference is the way to go. But cool antipathy is totally fair enough.Which brings us to today’s Scervino show. It was billed as an “ode to Italian-ness,” and it was. From this outsider’s perspective, it reflected the full spectrum of a cultural taste that runs from the awe-inspiringly sublime (Renaissance art, cinema, cannoli) to the pretty ridiculous (soulful saxophone house,Temptation Island, Matteo Salvini). It seemed incredible that the same runway could host the eye-straining naffness of a look of hot pink floral silk short shorts tied by scarlet leather cord with a fluoro green sequined sweater, alongside a completely composed white crepe suit cut with Palladian precision. There was an albeit glittery, grungy conviction to a full-skirted, oversize paisley-printed organza dress worn above raised sole-glittered oxfords that seemed incompatible with the beautifully made but showgirl-cheesy dresses in nude lace feathers. We’ve already seen palms this season, of course, but here they were finely expressed, flipped 90 degrees and monochromed on a long silk skirt: It was nice. By contrast, a quilted embroidered parka came in colors best worn to attract intervention.Some of these pieces may have been as incomprehensible as the lyrics of the soulful sax-heavy Mina songs that played during the show, but isn’t that just part of the joy of our diversely mixed, glorious human granola?
21 September 2019
Ermanno Daelli stayed true to his reliable style recipe for Resort: hyperfemininity spiced up with masculine elements, and bourgeois glamour seasoned with Made in Florence craftsmanship. There’s not a real urge for change, especially considering faithful customers like Queen Rania of Jordan. Last March on a state visit to meet French President Emmanuel Macron, she wore Scervino’s black eco-leather chemise with matching sunray-pleat midi skirt.As usual, a play between masculine and feminine was the thread running through the collection, with Prince of Wales wools set against ruffles and lace, and striped poplin contrasting with python-printed leather. Daywear was designed with clear, unfussy lines, as in a series of easy dusters and belted city coats in bonded or washed wool, and tailored blazers worn with black stretch-leather leggings or pleated culottes. The designer definitely loves sparkle. Hand-knit cashmere sweaters were embroidered with crystals, while checkered wools were speckled with sequins.For evening, a note of romance was highlighted in a billowy embroidered organza dress in candy pink, which was a recurring color alongside a delicate tone of primrose yellow. Black leather with metallic details and red tartan wool toughened up the offering with a slightly punkish vibe.
24 June 2019
According to the undisputed authority that is Abraham Moon & Sons, the 1837-founded Yorkshire textiles supplier, the pattern that dominated this Ermanno Scervino collection—as it does so many others—was “designed by King Edward VII when he was Prince of Wales, as livery for his hunts at Abergeldie Castle on Scotland’s Deeside.”The Prince of Wales check is an interplay of bold black lines against a gray background formed from an artfully arranged static of houndstooth. Unlike leopard print—the second dominant pattern in this collection, and arguably the prime conventionally “feminine” pattern—it is man-made.Here its finest expression was in Look 1, a fine, soft-shouldered overcoat for women worn over a pale lace dress. Once the collection shifted a gear into its “contrast” of masculine-sourced garments speckled with rhinestones and Swarovski crystals, it became Prince of Wales Goes to Vegas check. This was impressively realized, especially in the Look 3 wide-leg, jacket-cinched suit, and as the enthusiastic crowd telegraphed, there is a keen clientele for this silk-and-steel Scervino combination.The counterpoint to that first coat was a mohair-fluffy topcoat in leopard for men further into the show. This hinted at would could have been a fun screwball runway comedy of code swapping, but as a pitch it fell quickly away. Sparkly rib knits for men came in an equivalent tricolor pastel for women. There were plenty of attractive and clearly finely made pieces, especially the shearlings and the suiting. Barely a hemline was left without an underlayer of lace. Swarovski-adorned Peter Pan collars played the spangled innocent against the suggestive moue of semi-sheer slip dresses.From its rhinestonePeaky Blinderssection to itsMatrix-meets-Showgirlsmoment, this was a solidly-Scervino Scervino show that made you reflect on quite how and why it is that one of the most consistently referenced designers in menswear and womenswear alike was a 19th-century heir to the British throne. Weird, huh?
23 February 2019
“Fashion should enhance women’s femininity and beauty,” said Ermanno Scervino. “In every collection, this is my main concern. Of course, style has to be timeless. But it also has to be modern, addressing women’s contemporary needs.” Pre-Fall delivered on this assumption, with plenty of options that blended practicality with the designer’s unabashed passion for voluptuous femininity.Beyond his usual, well-tailored pantsuits and softly structured coats, which this season came in a chic camouflage pattern on brushed wool, the designer tried his hand at sustainability. He’s adamant about using only excellent Made in Italy fabrications, and he did the same here, sourcing the best sustainably produced materials available. Case in point was a series of sporty parkas and hooded bombers made of “eco-fur” of incredible softness. Roomy and slightly oversize, they were proposed in bright red, white, or black with contrasting logoed ribbons or striped motifs. In the same vein, a black-and-white enveloping eco-fur coat had its lining lacquered in silver for a little sustainable sparkle. The chic, sporty feel was highlighted by eco-leather joggers or wool bicolored leggings and comfy, thick cashmere sweaters.Scervino likes glamour, that’s a fact; even sustainability has to receive the luxurious, expensive-looking treatment. That goes for a sleek tuxedo in what looked like white satin, which was actually made of the smoothest, luscious eco-leather. Sharply cut with an hourglass-shaped, silk-lapeled, double-breasted blazer, it was given a sensuous flair via a flimsy turtleneck in milky white lace worn underneath. Who says that sustainability can’t be sexy?
28 January 2019
You can credit Ermanno Scervino with a clear, straightforward point of view: He likes his woman beautiful, classy, and feminine. Period. No head-scratching conceptual blabber here, no excruciating soul-searching on the meaning of fashion. While quite a few young (and not-so-young) designers keep sending out collections where women are present only as abstruse concepts or cerebral simulacra of femininity, Scervino obstinately sticks to his recipe: He designs for real women with real bodies and real lives, and wants to make them desirable and glamorous. Sounds a little first-degree, perhaps? Well, possibly. Judging from the state of his company’s business, though, plenty of women’s credit cards relate to this special-not-special blend of glamour.For Spring, Scervino perfected his formula of playing with contrasts, achieving a well rounded, balanced look. His idea of modernity is rooted in the appreciation of tradition but free of nostalgia; the shapes he favored here were classic but neither retro nor vintage-y, with just the right amount of elegant practicality. The designer reworked classic men’s outerwear staples with an imaginative flair: A masculine striped shirt was worn with a midi ballerina skirt in fluffy tulle; a voluminouspiuminowas scribbled with delicate floral graffiti. A gently oversize pantsuit in checkered Prince of Wales light wool was paired with a glossy, silver-lacquered sporty sweater, while thigh-high leathercuissardesgave a ruffly concoction in ethereal white Chantilly mille-feuille lace a cool vibe.Scervino also introduced a few men’s looks into the lineup, replicating some of the women’s items in a masculine version, such as an eccentric pale blue brocade pantsuit and a series of high-gloss metallic knitted sweaters. As a first outing, it looked promising.
22 September 2018
Masculine versus feminine is always the name of the game chez Ermanno Scervino; he likes the play of opposites, which for Resort he elevated with elegant glamour and softened with a romantic touch. Suede and napa leather contrasted with wispy lace, while tailoring and suiting were set off against languid shapes.Scervino is a quintessentially Italian bon vivant with an appreciation for tasteful luxe; in his collections, Made in Italy standards for high-quality fabrications and often handmade execution are paramount. A mille-feuille plissé skirt could easily be made up of three layers of Valenciennes lace, embroidered cotton voile, and silk satin or tulle encrusted with macramé. No wonder it doesn’t come cheap.Resort has plenty to offer to women who favor a look that is chic yet seductive. Delicate dresses and flimsy tops had a Victorian feel; a standout was an ethereal white midi dress in an elaborate patchwork of Chantilly lace, crocheted ribbons, and embroidered tulle. The wispy lightness was offset by trenches and car coats in checkered cotton worn over long satin slip dresses with macramé intarsia; fringed suede jackets with a Western flair; and fitted blazers in black napa leather or in a bright shade of lipstick red.A floral theme of delicate bouquets printed on white cady for masculine three-pieces pantsuits and city dusters paired with tiny shorts highlighted the urban spirit of the collection; the same modern-romantic vibe was also in evidence in a series of ’70s-inspired black tuxedos, well tailored and worn with frilly embellished tops. They looked pretty cool.
26 June 2018
The Ermanno Scervino show’s opening look was an oversize striped alpaca sweater worn over a masculine camel coat. It was an unusual, interesting styling combination and it set the tone for a collection that seemed to mark a sort of more confident, modern direction. There were even sneakers on the catwalk, an absolute first here. Somehow, the designer managed to make them look seductive.The collection’s canvas was Scervino’s favorite dialogue between masculine and feminine elements. A good example was a city coat in royal blue and red mohair houndstooth worn over a lingerie-inspired organza slip dress-top trimmed in lace and paired with slouchy matching pants. Along the same lines, a masculine shirt in crisp poplin peeked from a glamorous fur collar trimming a lean double-cashmere coat, cinched at the waist. They made for persuasive propositions of charming elegance for the everyday.Other masculine-feminine iterations included substantial hand-knit cashmere and alpaca sporty sweaters, glittering with Swarovski crystals, contrasting with fluffy silk tulle gowns; yet the collection’s pièce de résistance was a black brushed mohair tailored car coat paired with a simple black cashmere turtleneck topping a black organza evening skirt. All swirling, raw-edged ruffles, it looked modern and effortlessly gorgeous.
24 February 2018
Ermanno Scervino is a quintessentially Italian label, known both for a hyper-feminine aesthetic and high-end craftsmanship. Creative director Ermanno Daelli doesn’t really look at references of times past in his design, nor does he revert to trendy gimmicks to make collections relevant. Daelli has a gentlemanly approach to style and an eye for sensuous sophistication.Take, for instance, his choice of fabrics. The Pre-Fall lineup was loaded with double cashmeres and mohairs, as well as felted wools so soft they could have been made out of feathers, pashminas, and alpaca furs. One could spend hours just gently stroking them as a form of therapeutic calming. It would work wonders. To counterbalance the thick consistency of tweeds and wools, the designer added liquid satins in pastel hues and frothy laces; Chantilly, Valenciennes, and macramé were embroidered or appliquéd on short silk tunics inspired by antique lingerie or transformed into dreamy long dresses with finely pleated inserts. They looked exquisite.The same dainty embroideries decorated hand-knit cashmere sweaters in shades of lilac or mimosa, which were worn with patchwork tartan kilts and riding coats that were the focus of a collection rich in beautiful outerwear. To underline the feel of soft structure that infused the collection, denim was washed until reduced to the smoothest texture, then printed with animal motifs and cut into tight leggings. Unsurprisingly, sporty references were kept to a minimum. The label’s version of thepiumino[quilted coat] was quite luxurious. More voluptuous than voluminous and made in blush-colored silk faille, it wasn’t worn over the usual hipster’s tracksuit or a logo hoodie; instead it topped a seductive minidress, dyed in the same soft pink shade and elaborately encrusted with lace.
29 January 2018
Ermanno Daelli and Toni Scervino have been working as partners for a long time. Daelli is the ebullient creative mind, while Scervino is the driving force behind the company’s business growth, which is apparently in quite a good shape. Both share an appreciation for glamorous femininity which borders on worship; both are demanding when it comes to the best possible standards of execution—they can be quite obsessive about it. “Made in Italy” is for them is a sacred value, so much so that they’ve bought a few ateliers and small factories just to secure the results they need.For Spring, the collection revolved around the label’s familiar territory, yet it looked as if the hyper-feminine style and high quality were kicked up a notch. Also, the show was more compact and well-edited than before; the look had an upbeat, modern attitude, but it was kept soignée.Seduction here is always at play, and what’s more seductive than sensual lingerie? The theme wasn’t addressed too literally—quite the contrary. Models sashayed on the catwalk looking beautiful, wearing bias-cut slip dresses alluringly draped in liquid white satin or filmy crepe de Chine printed with delicate florals. Rivulets of Chantilly lace cascaded on hems and décolletages. It could’ve easily steered towards the saccharine if not for the smart toughened-up, assertive styling, which mixed black leather with lace, introducing a subtly erotic contrast. A fluffy white organza skirt, daintily embroidered, which could’ve been perfect for an ingenuefemme-enfant, was worn with a black leather bustier top, tightly cinched at the waist, which suggested a much more alarming attitude.Ermanno Daelli finds the masculine-feminine play quite provocative; it’s often featured with gusto in his collections. Spring was no exception; he paired an hourglass-cut double-breasted blazer in flame red leather with a crisp white shirt and a filmy, see-through pencil skirt in lace. A masculine striped cotton shirt was worn with a balloon skirt in cloud blue hand-painted lace, while a voluminous printed organza skirt peeked out from a classic beige trench coat. To further underline the message, Daelli topped it all by closing the show with a series of sharply cut tuxedos made in sensuous silk cady. Veiled by see-through organza matching dusters, they had an elegant, allusive allure.
23 September 2017
Ermanno Scervino likes things feminine, no doubt; he’s totally deaf to the genderless parlance so in vogue today. Not the faintest trace of an androgynous twist can be found in his collections. Nevertheless, he’s partial to a dash of well-balanced masculine flair, which in his vision actually enhances women’s seductive power. He has to be believed; anyway, it’s what his many glamorous clients do.For Resort, Scervino didn’t stray from his well-tested path; as mentioned, his style celebrates a triumphant old-school femininity, with meticulous tailoring and excellent execution adding modernity. Lace, so quintessentially feminine, was plentiful; it came encrusted on linen in denim-dyed sundresses; hand-embroidered as eyelet for breezy city parkas in techno silk; and appliquéd on organza for filmy tops and impalpable pleated skirts. Military-inspired blazers and shapely tuxedo jackets added a tailored touch, counterbalancing the delicacy of flowing dresses in linen Vichy or striped silk. Peony pink and cerulean blue hues were set against navy blue, Schiaparelli pink, and bright red; white, one of Scervino’s favorite colors, infused the collection with a summery, blithe vibe.
27 June 2017
The opening look at today’s Ermanno Scervino show actually seemed like a first for the designer. A masculine Prince of Wales pantsuit was cut with sartorial precision—its tailored jacket had a flattering fitted hourglass shape and the pants were elongated, fluid, and slouchy. The model was comfortably wearing sturdy brogues—another likely first! It definitely wasn’t a look associated with Scervino’s customary hyper-feminine, fit-for-an-Italian-bombshell kind of style. It set the tone for a different attitude. Actually, it looked quite cool.Over-the-knee black flat biker boots grounded the collection, which played around tailored mannish outerwear of slightly oversize proportions. Military-inspired coats had a strong, protective, and powerful vibe. Va bene! But the leopard cannot change its spots, and Scervino couldn’t do without a generous helping of the sensual glamor that he loves. Extensive diva-worthy fur collars and striped mink sleeves added a softer touch to corduroy city coats, while flimsy, see-through dresses in chantilly and Valenciennes lace or point d’ésprit peeked alluringly under voluminous coats in checkered wools.Embellishments were handled with a certain restraint. The designer focused instead on exquisite textures, as in an off-white tuxedo in wool macramé, whose jacket had a built-in corset which gave a sexy roundness to the hips. A long matching duster with a white fox collar was thrown over the shoulders with feigned nonchalance. It looked feminine, assertive enough, and quite sensational.
25 February 2017
Ermanno Scervino has always celebrated a womanly, voluptuous style, rooted in his fondness for a timeless idea of Italian diva-esque glamour. Yet he's been able to play it with a modern flair, giving even his hourglass silhouettes a neat éclat. It helps that Scervino is fastidious about execution; he's adamant that everything has to be made with the best available Italian craftmanship. Going through the lineup with him means being shown in minute detail all the intricacies of his atelier’s techniques.For Pre-Fall, the collection revolved around a well established masculine/feminine duality: "I think that a woman is at her most appealing when she's able to play with her masculine side in a seductive way," said the designer, who's apparently convinced that seduction is a woman's main activity. And pronto he provided her with the weapons to bring home the prize, by way of a complete arsenal of hyper-feminine lacy numbers paired with masculine elements for maximum contrast. A good example of this idea was a black satin and lace-encrusted fitted cocktail dress, over which a houndstooth coat with a sumptuous fox collar was thrown with utter nonchalance.The chemistry between masculine and feminine was evidenced throughout the lineup; results were balanced and quite convincing, with a practical twist that softened a certain decorative penchant. A black leather perfecto was worn over a long dress in chantilly lace, and a romantic white frilly blouse was paired with a sporty caban and jogging pants. Scervino is no minimalist; he can't help indulging his flair for embellishment. In his hands, even the most oversized, utilitarian parka becomes an object of desire, cinched at the waist, and richly quilted or lavishly embroidered with eye-catching, exotic motifs.
30 January 2017
There are no mood boards pinned on walls atErmanno Scervino’s backstage. He’s actually one of the few designers who doesn’t rely on a heap of images artfully assembled to justify his collection’s references. Showing off his prowess when digging into obscure archives is just not his thing. His manners are old school, gentlemanly, and rather charming; when asked about the inspiration behind today’s show, he gave a very polite, very succinct answer: “Beauty.” When he tried to expand on the concept, he could only reiterate it. “Beauty is the only thing that inspires me. Beauty with modernity but zero vulgarity!”To drive home his point, Scervino played around the idea of lightness, transparency, and delicacy. Volumes were as fluffy as soufflés, airy concoctions of silk organza, embroidered lace, or habotai silk, often worked into fine plissés soleil or honeycomb motifs, with a nod to lingerie-inspired dressing. To fully appreciate the exquisite techniques of execution, one needed to really inspect the looks up close. An eau de nil masculine suit was made of embroidered lace mimicking the texture of astrakhan; gold was sprayed or dusted on lace and cut into a demure midi dress. Velvet devoré with abstract floral patterns made for a couple of ’40s-inspired, fluid dresses cut asymmetrically on the bias, their plunging necklines trimmed with diamanté appliqués. They looked seductive and highly desirable.The delicate palette of cerulean, aqua, blonde, and nude further highlighted the dreamy, hyper-feminine mood. Elsewhere, a more substantial allure counterpointed the ethereal lightness: masculine, oversize shirts in striped, crispy poplin were worn nonchalantly over lace-up shorts and brassières. They looked assertive yet tasteful, spicing up the sugary factor with a younger, sexier vibe.
24 September 2016
Ermanno Scervinohad been tormented lately by a puzzling conundrum: “I wanted a summery fur,” he said. Not an easy task, but being quite the undeterred type, he put his team of Florentine artisans to work and after much trial and error, voila, they created an Astrakhan-lookalike fabric from a silk yarn. Clearly aiming for the wow effect, Scervino had it dyed in eye-popping colors and bonded with lace. The sumptuous, soft material was used for frogged jackets and overcoats paired with slim pencil skirts; they looked quite extravagant yet uptown chic.For Resort, Scervino stayed true to his hyper-feminine mantra: “Women must be soigné” he explained, while showing a tailored pantsuit made of a Gobelin tapestry–inspired woven fabric worn with an ethereal blouse in white silk chiffon embroidered with precious Valenciennes lace. Not an ensemble to hastily grab in the morning for riding the subway or running errands at the local farmer’s market. Yet Scervino tried to keep a modern edge at play, adding a younger, sporty feel to the collection with techno blousons, cropped straight pants, and cashmere jumpers. But his true love has always been a womanly kind of glamour, “like Liz Taylor’s inCat on a Hot Tin Roof,” he pointed out. As an homage, he whipped up a series of flimsy white ruffled dresses, slips, and blouses in see-through mousseline, linen, and chiffon, exquisitely embroidered with delicate Chantilly lace; they had a romantic, summery appeal.
30 June 2016
In a (fashion) world where the only certainty seems to be that nothing is certain, sometimes having a few solid reference points is what it takes to make the wheels turn—hopefully in the right direction.Ermanno Scervinofirmly believes in Beauty—with a capital B—as his guiding star. “Beauty is eternal. What else can I say? When it’s there, it doesn’t fade,” said the designer before the show. “It just has to be modern, modern, modern!” And what could be more of-the-moment than Pyper America and Lucky Blue Smith, the famous siblings who are sending throngs of millennial Instagrammers into a frenzy? They were towering backstage, both resplendent in custom-made Scervino: She with pink hair nicely complementing a long, finely pleated ivory lace dress; he with his sleeked-back signature platinum coiffure matchy-matching a diamanté jacket from the men’s collection. Smith seemed powered by a fashion wattage so strong he could have lit the whole block.If Scervino were a New York designer, his clothes could have been perfect for uptown, sophisticated ladies with a relentless social calendar—they would have certainly coveted more than a few looks from today’s show. Case in point: a pair of leopard-print coats in silk jacquard that seemed made for a Park Avenue doyenne. But here is where Scervino’s quintessentially Italian flair kicked in: He added to their sauvage and already dense patterns a voluminous multicolor fox and mink collar that screamed of voluptuous glamour. The same could be said of his very Italian sense of embellishment and decoration, which was in full display on tweed short coats embroidered with colorful paillettes appliqués.History and art were referenced comme il faut in evening dresses made of fastidiously assembled bronze lace tassels; they were reminiscent of the dark golden tones of gleaming Byzantine mosaics or of a Klimtian palette. The luxe factor was obviously paramount—it came through both in the choice of fabrics and in the exquisite execution. Sensuality also peeked in, with see-through long dresses in coated lace, molded into sculptural yet light shapes. A touch of Victorian, they conveyed a sense of elegant seduction. “Yes, Seduction!” enthused Scervino. "Femininity is everything!" His following of glamorous celebrities (Kim Kardashian West, anyone?) should rest assured: There is not the faintest trace of the androgyny trend in this collection—nor will there be in future ones.
27 February 2016
The Ermanno Scervino vision of women is as naturally unreconstructed as the label’s garments are beautifully constructed: irony-free, Hot Rich Lady–wear. It might not be cutting-edge, but it’s nicely cut. And yes, while there was a thigh-high theme running through this lookbook shoot, the clothes were not as brassy as that footwear.Take the gold-strafed check jacquard coat and pants, the Swarovski-dotted Prince of Wales cocoon coat, and the herringbone coat—all serious, seriously powerful pieces sometimes paired with bada-bing lace slip dresses. An angora wool jacket with mink inserts at the sleeve and collar and a black coat in hand-embroidered squiggles edged with fox were both go-to princess items; the silk and wool parka with detachable wool liner and mink hood was princess-in-disguise. A cashmere sweater patched with lace-covered skull and crossbones and skirted with an inside hem of lace contained just the slightest hint of twist. An asymmetric, high-shawl-collared evening jumpsuit was cute and sleek. Scervino does what it does very well.
20 January 2016
“It’s a passion play of opposites,” said an upbeatErmanno Scervinobackstage before rushing out to greet Italy’s First Lady, Agnese Landini, a friend and loyal client. The collection he presented today celebrated his signature hyper-feminine, Italian-diva style, though he tempered it with a contrasting dose of masculine and sporty elements. Fortunately for Scervino’s fans, this did not tarnish the glam factor; on the contrary, it polished the edges, giving the lineup a contemporary feel.Craftsmanship took center stage with an elaborate display of materials, textures, and finishes. Lace was utilized in myriad ways—bonded with a double layer of delicate guipure, embroidered with macramé and jacquardfeuillage, and fused with cashmere pashmina to sumptuous effect. The silhouettes were either elongated and slim or sensual and shapely; evening fabrics were worked into tailored day coats and pantsuits. Light organza gave shape to a classic tuxedo duster worn with cropped pants and flat embroidered babouches. In another clever conception, a sporty olive green jumpsuit was paired with a luxe mink jacket dyed a bright shade of bubblegum pink. Masculine shirts in crisp striped poplin were a chic counterpoint to tight duchesse satin pencil midi skirts, while shades of lipstick red served as an unexpected and striking contrast to a delicate periwinkle hue. The result was a lineup of edge and modernity, spicing up Scervino’s trademark sensual touch.
26 September 2015
Is Ermanno Scervino doing…flats? You looked twice at the models strutting on the catwalk during his show today, just to make sure fashion fatigue hadn't hit you hard enough to blur your vision. But no, those were actually masculine bicolored lace-ups—as flat as can be—worn with a tailored black Le Smoking. Still, the shoes were heavily embellished, and a puff of filmy French lace seemed to sprout up from a sheer blouse, so it was apparent that Scervino's über-feminine style and love for glamour were still in place. This was confirmed by a series of looks featuring a very womanly silhouette. The dresses came with tiny, cinched waists blossoming into ballerina skirts whipped up like a soufflé. The coats were sumptuous in mink and astrakhan—they seemed ready to be wrapped around the shoulders of a purring Italian diva. Elsewhere, a more modern feel came from military accents and some masculine/feminine play.Corsets and tops with crystal embellishments galore were paired with houndstooth wool coats and dresses with geometric fur intarsia. To add to the luxe, there was a couture-ish version of a sporty duvet coat: White and voluminous, it hid a stiff corset inserted at the waist to make its shape round and sexy, enhancing the hips for an undulating, sensual walk.
28 February 2015
In Ermanno Scervino's world, women must be feminine to the hilt: curves enhanced, body tightly wrapped in luxurious fabrics, teetering seductively on stilettos. No wonder that the alpha female Kim Kardashian West is a fan, not to mention such a close friend that this past spring Scervino hosted her extravagant wedding to Kanye at the Forte Belvedere in Florence. And no wonder that his business is also thriving: What woman doesn't want to look like a sultry Italian diva, even just for an evening?This collection was an affair of a different sort, though. Scervino's goal here was a conscious coupling of two complete opposites: sportswear and glamour. Parkas came in a couture-like rounded shape and were cut very short to show long, bare legs, or else they were paired with bra tops and tight pencil skirts. Raffia was bonded with rubberized cotton; chenille macramé was intricately woven and embroidered; Panama canvas had a lush finish—these interesting textures gave the collection a modern luxe feel. Laser-cut neoprene was puffed up into crinoline-like miniskirts that were paired with strapless bustiers. There were vibrant shades of turquoise and bright green, and featherlight denim came in powder baby blue. No surprise that in the end, glamour won out; Kim will surely swoon.
19 September 2014