Gucci-fy It. Gucci Resort 2018


In the race of fancy venues for the pre-spring collections, Gucci took their guests to the most Italian city – Florence. And specificaly, to the Palantine gallery of the Palazzo Pitti, known for its ornamental interiors. I wouldn’t be honest with myself if I started to wow and oh over Alessandro Michele‘s latest outing, which is twice richer in literally everything than usual. But what really impressed me was the way Michele went ironic with his up-to-date achievement at Gucci. He didn’t only turn the brand into international commercial prosperity. Have you met some of the Instagram ladies, who wear, breath and think only GUCCI? They’re seriously obsessed with the brand, wearing dozens of Gucci rings at a time and taking total runway looks to the streets. Michele has one, meaningful reply to that mania of his creation: Guccification. At least, some of the t-shirts from his resort 2018 collection had this slogan on.


All collages by Edward Kanarecki.

Men’s – Robert Mapplethorpe. Raf Simons SS17


It’s the first time in a while, when Pitti Uomo feels exciting. This season, the fashion editors and buyers have seen Gosha Rubchinskiy take on Italian culture; the same day, Raf Simons presented one of his most defining collections in his career. The standing fashion show for spring-summer 2017 was a special occasion – it was a nod to Robert Mapplethorpe, a controvertial American, who was known for his unconventional black-and-white photography. During his lifetime, the photographer shot such extraordinary characters as Patti Smith or Andy Warhol, but also, he was famous for his highly BDSM polaroids, flower still-lives (often compared to erect phallus) and nudes of female wrestlers.

The photographer, who began the cult of erotic photography in the 70s, was the main, well-visible and fully acknowledged reference point for Raf this season. Rather than simply putting famous Mapplethorpe photographs as prints on tops, Simons challenged himself to make his inspiration something much more profound. “Every boy is a representation of a piece of work” – this is how the designer described the models, with dark, curly hair and skinny black pants. Some looked like the original characters taken out of Mapplethorpe’s polaroids, wearing leather biker caps and voluminous, white shirts. Oh yes, the shirts. The over-sized silhouettes reassembled white walls of a gallery, perfectly exposing these defiant and somewhat deviant visuals. Debbie Harry, with a stern face, looked at you from under a cropped V-neck sweater; a penis photo on a striped t-shirt wasn’t a surprise, keeping in mind Robert’s late obsessions. Wherever you turned, you could sense respect for the photographer, coming from Raf’s heart. The focus was on the clothes – the images weren’t shouting, leaving space for the pieces to speak for themselves. It’s not a one-season-only type of collaboration between an artist (specifically, Mapplethorpe Foundation) and a fashion designer. It’s a collection, where everything is about the rebellious attitude, with a very clear, labelled reference. Other designers should take a note from Simons on how to name their inspirations, in order not to become accidental copycats.








Men’s – To Pier Paolo and Kappa. Gosha Rubchinskiy SS17


London’s collections were all about diversity (Casely-Hayford, Wales Bonner) and edginess (J.W. Anderson). However, Pitti Uomo in Florence started with a much more realistic approach by this year’s guest designer and a Comme des Garçons protegé, Gosha Rubchinskiy. This Russian designer, who’s obsessed with Russian youth culture, is a street wear favourite for years, with his cyrillic slogans on sweatshirts and Reebok collaborations. But this season, the direction changed, just like the city in which the designer presented his menswear collection. Still oozing with a street-wise attitude of a post-Soviet bloc skater, Gosha looked further for inspiration and found a connection between his signature style, Italian 90s mega-brands and the controversial director, Pier Paolo Pasolini.

For the show, street-casted models stormed the runway set in a former tobacco factory, abandoned 15 years ago, and the setting was a key connection between Tuscany’s capital and socrealist fascinations. Gosha’s long-time friend and stylist, Lotta Volkova, said that the factory was “the only Soviet-looking building in Florence“. Feel like home, then. Moreover, these geek brands that invaded Europe and Moscow’s streets later on – Kappa and Fila – unsurprisingly appealed to Rubchinskiy. Firstly, it was once everyone’s dream to have a Fila logo on his or her chest, and that’s a distinct memory for the designer himself; secondly, this 2000-era thing for sportswear as daily wardrobe strongly matches Rubchinskiy’s aesthetics. Another Italian factor in this collection was Pasolini, whose sexually defiant films, like Teorema or Salo, or the 120 Days of Sodom, play an important role in envisioning spring-summer 2017 guy. Even a short film directed by Renata Litvinova was created for this occasion, dedicated “To Pier Paolo.” Pasolini, a communist (weak point for Russia-loving designer), intended to show deviant view on both men and women – so, no wonder why there was something disturbing about the first two, bald-headed boys, wearing pin-stripe suits without a shirt under. Mafioso vibes, quite aggressive – note the chains on their necks and wrists. They could star in Pier Paolo’s film for sure – as Italian murders, maybe?

Definitely, Italian culture and Soviet youth are not your average, fashion combination. The designer brought the unexpected, with new silhouettes. Reviving Pasolini’s art and the old-good logomania (Kappa girls were literally placed everywhere here) helped developing Rubchinskiy’s boyish look. And that’s good for him – surely, he won’t fall into monotony of sweatpants and Instagram-beloved meaning of the word “hype”.







Kaleidoscopic Florence. Emilio Pucci Pre-Fall’16


Massimo Giorgetti’s playful vision at Emilio Pucci keeps getting better and better with each season. The pre-fall 2016 collection is his third for the Florence-based, heritage brand, and it already feels like he has been at the house for a prolific period of time – this young, Italian designer mixes the signature Emilio prints in such a care-free, yet vibrant way. Massimo focused on reinterpreting the Pucci codes in a contemporary, slightly humorous way. The silk pants and shirts in blue-feather prints; bold lips pattern, which made the pleated skirts look, oh yes, bellissimo. The skiwear roots were revamped this season and hopefully, it will again be a game-stopper on the Courchevel route – modern V-neck knits, “kaleidoscope” jackets and boldly coloured fur coats looked luxurious, but not too excessive. Forget the image of a fancy lady with a freezing dog on the slopes. One thing’s sure – Giorgetti and his team at Emilio Pucci are moving in the right direction, making the brand’s season-to-season outings feel unexpected, lifey and beautifully eclectic.










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#TBT: Haider Ackermann’s SS11


Spring / summer 2011 for men by Haider Ackermann.The designer titled his show “A Carte Blanche Named Opium”, and the elegantly spare book (he called it a “carnet de voyage”) that was distributed before his Spring presentation in Florence during Pitti Uomo Fashion Week promised an appropriately dark, sensual head trip. Men in embellished jackets and  upholstery trousers, women in their languidly draped palazzo pants and layered silk tanks. One of my all-time favourite by Ackermann.





In Italy

As you might have noticed, I was absent for a while on my blog (except the What’s Hot posts)… Why? I am now in Italy and I just felt like taking a break from everything. But now I am again full of power and energy, so I am ready for the Resort’15 and SS15 show reviews… for a good, fresh start, here are some of my facourite pics from Venice, Florence and Verona!







Tuscany: Villa Sant Michele

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There is this bad type of restaurants, where you pay more for the view and exclusive fog, than for the taste of food. This is all about the Villa Sant Michele’s restaurant that is located on the top of the hill. You walk in, the place is beautiful. But, a closer look, it feels a bit cheap. Then the veranda, so the restaurant. The view is AMAZING. Whole Florence seen in one place. So it’s all kind of OK. Until the food… First dish is a catastrophe! A warm tartar of scampi… Disgusting. Then meat tagliata. Looks like shit on the plate, isn’t it? And the most horrifying thing- peach semifredo. It was the biggest minus. It tasted like the cheapest one from a super market! No, this place is a big mistake, with it’s “REAL TUSCAN” atmosphere. Eeuuu.

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Tuscany: ❤Carrara❤

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Carrara is the city of marble in Tuscany, where biggest amounts of marble are found and used from the local mountains. It sounds kind of normally, but in reality and landscape around looks destroyed and devastated- the mountains are simply peeled off! For sure there is no ecology in that… But the city looks fantastic. It is very old, but you shall find modern marble sculptures everywhere, that looks cool. And there is also this church made all out of marble… It all makes me think of Balenciaga by Alexander Wang AW13 collection inspired with marble form!20130819-110237 AM.jpg20130819-110254 AM.jpg20130819-110337 AM.jpg20130819-110348 AM.jpg20130819-110358 AM.jpg20130819-110420 AM.jpg20130819-110436 AM.jpg20130819-110448 AM.jpg20130819-110507 AM.jpg20130819-110521 AM.jpg

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