Another day, another resort show taking place somewhere in the world. Gucci‘s resort 2020 unfolded in the shadowy halls of the Musei Capitolini in Rome, where the legendary Capitoline wold statue stands guard telling the story of Romulus and Remus and the mythic tale of the Founding of Rome in the 8th century B.C. Where busts of Hadrian, whose love affair with Antinous peaks fantasies up to now, and Neron, who was one of the first dictators and mysogynists in the world, might look at each other in the corridor. Alessandro Michele‘s new collection was lots, lots of history, heavily inspired with loose sheats and tunics of Romans. And there was this notion of theatrical dressing up, something Romans loved a lot. Michele revisited this idea (as if he didn’t every season…) with more modern, pop references: Elton John (who sat front row), Bob Mackie’s iconic black peacock Cher look, 70s Gucci jet-set style, Mickey Mouse prints… well, lots of content. So much that you barely see the clothes, which is something we already got used to with Gucci shows. Alessandro also attempted to grasp something from the contemporary world – which is highly recommeded for brands with such huge platform of viewers. A uterus was embroidered on a pleated gown, sparking very mixed feelings on social media, and as the brand explained, “the piece reflects the creative director’s continuing vision of freedom, equality and self-expression. Since founding Chime for Change in 2013 – the global campaign that represents and advocates for gender equality – Gucci has a longstanding commitment to women and girls by funding projects around the world to support sexual and reproductive rights, maternal health and the freedom of individual choice.” Which is, shortly speaking, a comment on current abortion issues going on in USA (and not only). A blue jacket with “MY BODY MY CHOICE” slogan on the back was even more straight-forward. Still, I’m not a fan of this collection. There’s just too much going on. And with every ‘fantasy’ of Alessandro, it gets blurrier and blurrier…
Collage by Edward Kanarecki.
i, Gucci is Florence. Gucci Garden
is a must-see in this city, but I wouldn’t take it too seriously. I mean, it’s not a museum written with capital ‘M’. Still, it’s an experience, like anything Gucci and Alessandro Michele
pull off together. Inside the historic Palazzo della Mercanzia, the museo
is housed, conceived by creative director Alessandro Michele. The newly designed space features a store with one-of-a-kind items, the Gucci Osteria da Massimo Bottura and the Gucci Garden Galleria exhibition rooms curated by critic Maria Luisa Frisa. Divided into a series of themed rooms, the Gucci Garden Galleria narrates the brand’s new vision while celebrating the archives including old advertising campaigns, artisans’ images, retro objects. From the Double G motif to Michele’s Guccification, the house’s universe is presented in a subverted, slightly surreal way. ‘Paraphernalia’ is a room dedicated to signature codes and symbols that define Gucci’s identity while ‘Cosmorama’ reveals the historical jet-set customer of Gucci. My favourite part? Anything by Tom Ford (the white slit dress, iconic kamasutra
bomber jacket…). Was quite surprised the brand completely erased Frida Gianini from its history, though…
Photos by Edward Kanarecki.
Alessandro Michele‘s Gucci is like an endless rollercoaster – sometimes, you just love the craziness of the entire thing; sometimes, you’re near puking. This time, however, I felt the first. In a venue covered with more than 120,000 LED lightbulbs and a 100-meter long mirrored runway, a tribe of beautifully eccentric individuals made an appearance. Rich in tailoring, pattern and opulent decoration, many of the looks were worn with masks of all sorts. Spiked, coloured, one in the form a of an eagle, the masks represented showing and hiding who we are, and to protect the kindness and beauty inside. Fantastical shapes, faux fur accessories in the boldest shades and gold metal ear coverings inspired by the 24-karat gold work ‘Fashion Fiction #1’ from 1968 by artist Eduardo Costa were all here, matched and mismatched in true manner of Michele. Those elongated jackets, wide trousers, ornate robes, dresses with puffed sleeve (and whatever else you see here) are no longer for women or men specifically. Alessandro wants to create clothes for individuals, who no longer limit themselves through gender boundaries. He does so, with his eternal love for untamed eclecticism.
All collages by Edward Kanarecki.
While we all got used to Gucci‘s extravaganza surrounding each collection, whether it’s a cementary on fire or Jane Birkin singing mid-show, Alessandro Michele‘s pre-fall 2019 look-book is just… there. Photographed by Harmony Korine, the collection is distinctly Gucci, in a very Michele’s over-the-top manner. We’ve got floral kaftans, babooshka headscarves (thanks, Asap Rocky), richly embellished eveningwear, eccentric-chic faux-fur coats, geeky sandals, a bit of power dressing in bold fuchsia, logomania, zebra prints and lots, lots more. Shortly speaking, it’s a regular Gucci line-up.
Collage by Edward Kanarecki.