At Vinta Definita, our first collection is all about statement pieces; pieces that exude the grace of the golden days of women’s tailoring – from the 1930s through to the 1970s. Luxurious clothing with exquisite design, craftsmanship and detailing, each garment has been created – in strictly limited runs – using gorgeous fabrics. A glorious symphony of two harmonious elements, our introductory collection combines our vision for our label and inspiration from the design greats who have gone before us.
In 1910, Jean Patou relocated to Paris, with his sights firmly set on becoming a couturier. Just four years later, his dreams were realised – and his talents recognised – when his entire collection was purchased by a single buyer. Patou is credited with moving fashion away from stiffness and formality. He created eminently wearable collections; that worked with the natural flow of his chosen fabrics and that enhanced the comfort of the garment’s wearer, without compromising on style. The House of Patou became renowned perfumers, too. Joy – the epitome of luxury with its heady rose and jasmine-based scent – was once the costliest perfume in the world.
Renowned for his sophistication and artistry, Balmain once described dressmaking as “the architecture of movement”. Indeed, the Frenchman studied architecture before going on to design dresses for the boutique operated by his mother and sisters. Opening his own fashion house in 1945, Balmain developed a signature look, based on a design aesthetic of slender and elegant lines. His iconic silhouettes – long bell-shaped skirts with tiny waists – were popularised as Dior’s “New Look”. And the shapes that he created using clothing – sheath dresses beneath jackets, tailored suits, formal gowns – became instantly recognisable.
After being apprenticed to a Parisian tailor, Fabiani took over his parents’ couture business – quickly transforming it into one of Italy’s top fashion houses and pioneering the renaissance of Italian couture. Italian-born Fabiani became famous for his structural approach to tailoring, too. In the 1960s, fashion editors in the New York Times described his pieces as “a quiet marvel of architecture.” The deceptively simple and pared-down designs of his statement pieces – from signature chemises, sheath dresses and coats – led to the designer’s nickname, “the surgeon of suits and coats”.