Manolo Meets Pierangelo D’Agostin

From Neapolitan tailoring art to Japanese denim manufacturing. J.Lindebergs design director Pierangelo D’Agostin have tried most in the fashion world. In an interview with our site, he talks about his views on the current fashion, the art of combining function with style and legendary brand hLam.

It is a very impressive career Pierangelo D’Agostin done. Alongside workplaces Neapolitan top tailors Cesare Attolini and Savile Row’s Gieves & Hawkes Pierangelo has been chief designer for Jil Sander, developed fabrics for Loro Piana, developed yarns for Malo and designed for Italian hatter Barbisio to now responsible for new J.Lindebergs idiom. But the brand that perhaps mainly associated with Pierangelo is almost legendary hLam Pierangelo who drove with his wife Gunn Johannson.
– It’s strange, but almost every time I meet with people in this industry will hLam of speech. To have been so small and short-lived label, it’s quite 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 us only of the foremost manufacturers and weavers. I myself could really benefit from everything I learned. From Japanese denim production to tailoring art of Attolini. Many of my friends and family are still talking about how much they like their garments from hLam, which for me is the best rating a designer can get.

The brand achieved great success in Japan with several own stores, but there were also represented in the United States and many of Europe’s fashion capitals. Unfortunately, it was finally too expensive to pursue the project further. Mark free well-tailored design with fully okonstruerade jackets, however, live in much of the Pierangelo create today.
– With hLam we did everything unlined and deconstructed to really let the material take place. Then all thought it was strange. Nobody wanted to pay more for less fabric, when in fact it is a much more costly process of producing unlined garments. Today, there is hardly a manufacturer who is not trying to make unlined jackets.

Another thing that is clear about your idiom is the relatively short jackets. What will this detail from ?
– I started it 15 years ago. When the market was not quite ready. But for every season, I could cut me about 1-2 centimeters until I found the right place. And really it is very simple, it is about functionality. When you sit in a car or on the subway, you do not have to put you on his jacket. There is rarely enough to split without the jacket must be shortened in order to get the full movement. And today, they have shorter lengths almost become standard for jackets.

Pierangelo grew up in the Italian town of Biella, a town of about 45,000 inhabitants for over 2,000 years been the subject of occupation and war. But also a pillar of the Italian food industry. In the outskirts of the city are some of the world’s leading weaving mills that Carlo Barbera, Zegna and Vitale Barberis. And fabrics is a subject Pierangelo constantly returns to:
– I try to spend as much time as possible on the various weaving mills. One must always have the fabric as the basis for the final product. In many cases, the fabric replacement and enhance many of the properties of the structure.

Pierangelo sees my jacket from Barbisio he actually self-designed:
– It is a typical example where the fabric gets a crucial role in the garment shape. I wanted to create a completely okonstruerad jacket that naturally follows body movement. Instead of giving the garment shape by shims we took together with an Italian weavers produce a very compact fabric in pure cashmere naturally has a slightly curved shape. If you stand up straight with your arms facing forward, you will see that the garment clearly follows the body. It also makes the fabric to better conform to the wearer and may be a better fit.

Exactly where Pierangelo gets his inspiration is a little unclear. Unlike many designers throw themselves Pierangelo not important sources of inspiration or references to style icons. Every now and then it pops up stories like how he found a parking spot in the Italian Alps came up with the idea to develop the above mentioned fabric. But dislike he himself being called a fashion designer but sees himself more as a product designer.
– There are a few fashion designer who really knows how to create startling collections. McQueen was one of them. But I see this as a very small portion of courage. Where considered fashion more as an art form. Unfortunately, it is a predominantly large portion of today’s fashion that has no functionality.

But be not excessive focus on the technical and functional to remove the feeling of the clothes?
– My whole approach to design is about combining functionality and aesthetics. But they breed in many ways also each other. The details today we’re talking about the style details have historically been introduced to solve a technical problem. Unfortunately, I notice that many people today are afraid of new functional details. Why not put an extra pocket on the inside of the jacket if it does not interfere? One day you stand there and do it. With Lindberg’s upcoming jackets, we actually have to some extent tried to replace the bag. I hate myself not being able to have my hands free. Therefore, we have designed jackets with room for a thin laptop and a newspaper.
– For me the function of something beautiful. It is also characteristic of all real good manufacturers. They never compromise on functionality without the wearer is always in mind, from the choice of fabric to the very last stitch.