![]() What to shop from the collection: Most definitely something chinoiserie from the collection, while the new crossbody bag and the studded strappy pumps has staying power. A simple black drape dress with a slit all the way up provided a nice pause for the senses (Look 67). Signature silhouettes: Whilst the overall vibe seemed to be a lot to take in, the show was brought back to ground zero upon closer inspection: there were sharply-cut pinstripe suits paving the way (Look 3), boxy disco jackets from the ’80s (Look 7) and chinoiserie motifs-a favourite of Michele-that came in the form of a lowly slung embroidered skirt (Look 23) or a cropped bib top (Look 49). Lights drifted in and out-as if we were in a dreamscape-whilst the audience basked in the ambient sounds of Ancient Future by The Colour of Time. The vibe: Monochromatic portraits of lookalikes or twins encapsulating the various emotions of a human posed as the backdrop to the show space built completely out of metal grills. ![]() ![]() In fact, I was told that Michele himself was tearing up throughout his entire post-show interview. Not only was it a fashion moment but more importantly, the idea of having 68 pairs of twins come together for it all, definitely stirred up the emotions of many. Given that these creatures multiply in hordes upon touching water, the idea of clones brought the show to a jaw-dropping climax when the wall separating the entire show space suddenly raised to reveal identical twins-wearing the exact same outfit-coming down the runway to hold hands upon meeting in the middle. The power of individuality is constantly challenged at every Gucci show and today, upon seeing Mogwai (better known as the Gremlin from the hit horror movie from the ’80s) worn as a bag charm, it was a hint of what was to come. Oriental inspiration came in the form of qipaos and dudous paired alongside multi-coloured beaded headgear and futuristic face chains. The vision: The show opens to a preppy suit with pants lobbed off at mid-thigh hanging off garters and in an instant, the procession transforms into a cultural exchange of myriad influences: from the dressing of ’80s disco and that of hippie bohemians to those of beatniks and preppy college students. Parenthetical collections like this one tend to be more noncommittal.10-word show review: A sublime showcase of unifying individualism at its very best Both designers are part of the house’s heritage now, but Ford and Michele became famous by never doing anything halfway. Like the men’s show that preceded it in January, the collection jumped this way and that, from the ’90s slimline tailoring of Tom Ford’s Gucci era to more eccentric stylings in the spirit of Michele. Outside on the Via Mecenate, the crowd whooped for Chinese singer and actor Xiao Zhan he was perched next to Gucci CEO Marco Bizzarri. The outer ring is where the celebrities sat: Dakota Johnson, A$AP Rocky, the Maneskin foursome, Florence Welch, and Julia Garner among them. In the middle were two sunken circles-the show notes said they “represented the collaborative circularity at the heart of Gucci’s creative community” my seatmate called them influencer pits because they were filled with social media machers. The Gucci hub had been stripped down to puce green carpeting and burgundy banquettes for the occasion. That gave the Gucci studio the job of designing this in-between season, sandwiched in the middle of Alessandro Michele’s Twinsburg sign-off and De Sarno’s opening salvo. When his appointment was announced last month, the brand said his first collection would be spring 2024. Gucci’s new creative director is Sabato De Sarno.
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