Double manufacturing necessary follows handcraft times. It was born as a real sartorial splendour and it is still shown off as the same.
Its manufacturing was slow, sophisticated and hard in the past. Today it’s produced with linen, cotton, organza and other lighter fabrics.
The double is a “double fabric” made by two warps and one weft or by two wefts and one warp.
In the Thirties it was mainly used to realize heavy clothes both for men and for women, especially outerwear with care of weft and patterns.
At the beginning of the Fifties the double mainly addressed to women thanks to the Maison Cristian Dior.
In Sixties Mila Schon started producing haute couture manufacturing. It focused on the matching of two fabrics without in view seams.
My grandfather told me that at the and of the Eighties we used to tailor Mila Schon double ties, wool with wool or wool with cotton. The item had no lining, the inside was identical to the outside, the reverse side was operated as another plain stitch of identical colour or different colour and patterns, with the opportunity to turn inside out the item of clothing. Reversible clothes were born: labels were not attached on the back central part of the item any more but stitched manually inside the pocket so that it could be never visible.
Double face suggested the idea of elegance.
During the Seventies this happened with all kinds of outerwear, as nightgown coats for example.
Nightgown coats have come back in fashon now more than ever. They are long with the belt in the same fabric and often in high handcrafted manufactoring.
Lagerfeld used the double as a sign of splendor for Chloé first and to continue Coco’s project later.
The same was for all the world of the Italian pret-à-porter from Armani to Ferré to Valentino.
A show of in view but invisible non seams which allow the costumer to have an unlined coat and play with the two-tone effect. Spotted and zebra-striped or spotted and damask were other common matching. The same item of clothing could be worn in two different patterns.
In 1970 the two brothers Giuseppe and Guido Pesenti came to Sicily and thanks to their collaboration with Sebastiano Galati they manufactured for Liolà, Max Mara and Pep.
They used to produce 1300 items of clothing per week.
At the end of the Eighties thanks to the partnership with Angelo Bellini and his wife Giusi we were able to join high fashon in Paris.
Before the coming of the double Sebastiano Galati used to work with GFT (Textile Financial Group in Turin). It’s chairperson Marco Rivetti was the first in Italy together with Armani to industrialise the product.
In the Seventies Max Mara let double become a classic with its evergreen and often camel colour coats. Jil Sander converted the double in an extra splendour basis for its extra minimal: not only in style but also in sartorial manufacturing.
Evolution is interesting in the last years when the double matches completely different fabrics: wool and nylon, cotton and silk, passing from two-tone to two-fabric, leather as insert or fur in a cashmere coat.
As we know drawing a style is not enough, you also have to tailor it: we do it manually with needle n. 9 and thread title 120 or 150 (depending on the fabric, sometimes the thread is bigger than the fabric).