If somebody asked me yesterday in the morning, what was the weirdest fashion moment of the last few seasons, I would instantly respond: Vetements autumn-winter 2017. But a few hours later, my reply would dramatically change. It’s Alessandro Michele‘s Gucci, which scored all points in category of ‘real eff-ing craziness’. I honestly don’t know from where to start or whether there’s even sense in writing this review. I mean, there were over 120 looks, divided between women’s and men’s (the new fashion show strategy, which really does make sense). Prepare, this one’s chaotic! There was a couple from Wes Anderson’s cult Royal Tenenbaums film; a stripper in ripped denim mini-skirt, wearing a flashy zirconia body-suit and having those very, very long tips; tacky-meets-royal gowns with faux-roses and heavy dose of ribbons; a cosmic, glass structure in place of a traditional runway, which insulated the models from the guests; Hari Nef (!), Asap Rocky (!!), and Florence Welch (!!!) sitting in the frow. Should I list more? There was even a pair of boots with look-alike hammer and sickle symbol of Communism, which got me thinking – how far will Michele pull the envelope? Oh, wait. I guess he already torn it apart.

The point is: honestly, I disliked the collection at the very first moment. I just can’t say I love it, because I would lie to myself. All that splendour is too much. But there’s other side of the coin. That was a show that made you think, ‘wow – fashion is fun.’ Right?  Mugler’s and Westwood’s collections were also slammed by the critics at the designers’ early stages of their careers, because they simply loved messing up with bad taste. Although Alessandro’s Gucci is under the spell of ‘hype’ (can someone, please, explain me at last what this enigmatic term really means) and it’s adored by everybody, from an Asian mega-client to Tumblr boy, this collection will leave a mark in fashion’s history. Uff.