Ouverture Of Something That Never Ended. Gucci SS21

COVID-19 made fashion rethink many matters, from fashion week schedules to overproduction, but most of all, it accelarated the reflection on how to show a collection to wide audience, through the digital media, in the most appealing ways. Most of brands come up with a video or film. But the latest example takes notes from Netflix. Gucci‘s Alessandro Michele hired the one and only Gus Van Sant to make seven-episode miniseries that were shown one by one, for the entire week. At moments, the experience was bumpy. The poll I’ve made on Instagram mid-week suggested that 75% no longer paid attention to the digital Gucci event. While the visuals of Ouverture Of Something That Never Ended were striking, Silvia Calderoni’s acting was phenomenal and Gucci celebs appearances were amusingly witty (Harry Styles made a cameo wearing a pink tee tucked into denim shorts, and pronounced his improvised modern-day art manifesto: “when it comes to making art it’s about finding the thing you’ve always wanted to see that has never been made. It’s always an uncomfortable moment, I think, when you find the thing. You don’t know if you love it or hate it because you don’t really know what it is yet. But I think that’s the most exciting place to work in“; Florence Welch glided through a Gucci-fied vintage store and slipped handwritten notes into the pockets of jeans or the purse of a passerby; Billie Eilish performed her new song and danced with her pet robot dogs in what looked like the suburbs of L.A.), the focus on the clothes was hard to comprehend. Fashion films are pretty much always product-driven and lack substance, and here it was quite the opposite. There was plenty of substance, but I felt there was not enough of the collection itself. Maybe, as some editors suggested, the episodes could be shoppable? It would be great to find that golden balance. The miniseries streamed on Instagram and on a dedicated site dubbed GucciFest, where the brand also supported videos made by 15 emerging designers from around the world – which was a lovely gesture. Once you finally look at the look-book to see the actual spring-summer 2021 (and pre-fall 2021) clothes, you will be surprised (or not so much) that Michele decided to utterly focus on the core of his Gucci. The 90 looks saw some most distinct signatures, as well as Alessandro’s archives (especially pieces from his first Gucci collections). There was pretty much nothing new, and the collection was free of bizarre over-the-topness that made the label feel just too much for me in the pre-pandemic times. So, the brand’s customer will be pleased with all the vintage-y, wearable styles that are just the right amount of quirk, while the rest of the audience might use the line-up as an inspiration-filled portfolio. It seems to say: “shop your closet, no need to buy new stuff“.

Collage by Edward Kanarecki.

Ghesquière’s Blade Runner Girl

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Some collections are just unforgettable. And some do both: remain in your mind for seasons to come and stay ahead of time in their remarkable authenticity. Nicolas Ghesquière‘s autumn-winter 2012 collection for Balenciaga happens to fall into the latter camp. Bonded leather coats with over-sized shoulders, voluminous sweaters over cosmic A-line skirts, memorable sweatshirts with Join a Weird Trip signs. Too much of goodness.

I think this one specific line-up of the visionary designer wasn’t as well understood in 2012 as it would have been today – its singularity, sharp modernism and wearability feel so today, but also so 2020, 2030 and who knows – 2040? After seeing the new trailer of Denis Villeneuve’s Blade Runner 2049, I just couldn’t hold myself from writing this short post as it made me think of Ghesquière’s brilliance right away. Blade Runner‘s neo-noir sci-fi sequel, coming later this year, is highly anticipated – and the designers can’t wait too, as Raf Simons did an entire menswear collection dedicated to the cult film. By the way, while designing at Louis Vuitton, Nicolas tends to frequently refer to Blade Runner while describing his futuristic collections.

Collage by Edward Kanarecki.

9 1/2 Weeks of Style

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9 1/2 Weeks directed by Adrian Lyne is a cult film from the 80s, blurring the lines between refined romance and subtle erotica. Elizabeth McGraw (played by super-bombshell, Kim Basinger) and John Gray (young Mickey Rourke) find each other in New York’s Chinatown, and their relationship becomes a journey of love with ups and downs.

But what really strikes you, when you watch the film, is this something sensual about Elizabeth’s clothing. Her knitted sweater is three sizes too big, but the viewer is appealed by the way her body is hidden. As an assistant of art gallery curator, Liz prefers unconventional for her daily wear: pastel-blue tights, Jane Birkin-like basket and her favourite cocoon trench-coat. When with John, she loves her boyfriend’s businessman wardrobe, and choses to wear tailored blazers with shoulder pads and pin-stripe pants. No wonder why the two shop at Comme Des Garçons-like store (which in fact might be one), filled with Japanese avant-garde garments.

New York fashion scene was going through a lot, and all-black was a statement. For exhibition openings, Elizabeth was likely to be seen in a black mini-dresses with exposed shoulder, wearing dark tights of course. Watching this film, I just can’t stop thinking that fashion hasn’t changed even a bit. From Lemaire‘s slouchy shirt-and-pants chic to Jacquemus over-sized jackets, it’s clear that the spirit of 80s feels relevant up to today. While Anthony Vaccarello’s spring-summer 2017 debut for Saint Laurent is pure 9 1/2 Weeks, really: leather secretary skirts, strip-tease-perfect cocktail dresses, killer heels.

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From left: Jacquemus AW16; Saint Laurent SS17; Celine AW14.

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From left: Lemaire SS17; Lemaire AW16; Lemaire AW14.

Similar look: Lemaire belted overcoatLemaire pantsSaint Laurent sequined dress & Jacquemus over-sized blazer.

A Bigger Splash

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We are all OBSCENE!

I’ve been waiting for A Bigger Splash since last September, and just yesterday I had a chance to see it in the cinema. But the waiting was honestly worth it, as I can openly say that I’m obsessed with it even more than I were few months ago. Luca Guadagnino‘s sultry, Italian sun-bathed thriller, starring Tilda Swinton, Dakota Johnson, Ralph FiennesMatthias Schoenaerts and Lily McMenamy, is a masterpiece. Visually, musically, artistically.

On an idyllic island of Pantelleria, Marianne Lane, a rock-star (played by the one and only Swinton), cures herself from a temporary voice loss and is all in sensual, compassionate relationship with Paul (Schoenaerts). Lying naked on the off-beat beach all day, the couple’s fantasy escape is interrupted by a spontanous visit of chaotic, impulsive Harry (played by Fiennes), Marianne’s music producer and old, drug-fuelled love. He arrives to the island with a shocking surprise: his “newly-discovered” daughter, Penelope (Dakota Johnson), who is a reflection of a melancholic lolita-teenager. The atmosphere gets stinking hot, as jealousy, untamed love and temperamental desire start to ooze in the relations between these equally vivid characters. Dancing to Rolling Stone’s Emotional Rescue, Harry is getting on everybody’s nerves, simultaneously inducing Marianne to fall in love with him, again. On the other side of the terracotta tiled pool, we’ve got Paul, a level-headed, loyal lover to Lane; but then, there is Penelope, whose coquettish behaviour and nasty attitude towards the others will make everything even more complicated…

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A Bigger Splash is a remake of French thriller La Piscine, which is iconic due to star power of Alain Delon, Romy Schneider and Jane Birkin – however, the plot has many reinterpreted, unpredictable twists. As Guadignino believes that fashion plays a major role in his films (!), the frivolous dresses, alluring skirts and sequined jumpsuits a la Ziggy Stardust, designed by Raf Simons during his tenure at Dior, fulfill the meaningful body language of Marianne. Also, the soundtrack of A Bigger Splash was curated in the dynamic, sexy rhyme of this (already) cult film – from rock’n’roll Nevada Wild tracks to operatic Popol Vuh, the play with sound is mind-blowing in here, too.

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Lily McMenamy in "A Bigger Splash"

I rarely (almost never) write about films on my blog – but I just couldn’t hold back from sharing my excitement with Luca’s film. Although it tells about pain and misunderstanding, obscenity and looking into the past, it’s an aesthetically beautiful nod to gestures, touch, sense and unconventional love. Should I even recommend it? Go for it, without consideration.

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Photographs above: Giulio Ghirardi examines the exquisite costumes and props, which helped bulid the elusive seductiveness of A Bigger Splash.

Magic in The Moonlight, so Marc Jacobs SS14.

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After seeing Woody Allen’s new film entitled Magic in The Moonlight, one thing got stuck in my head – the costumes. Oh yeah, they were really, really gorgeous. The plot of the movie happened between the 20’s and 30’s, and it exactly showed the style and fashion that ruled back then. And definitely the SS14’s Marc Jacobs victoriana inspired collection was very into Auntie Vanessa’s embroidered green bloose and triangular hair-cut! I think it’s all very matchy… thoughts?