Gucci runway12/10/2023 ![]() Others were hooded in what seemed to be lavender-lace allusions to burkas. Several had their faces covered in knitted half-balaclavas, surreally suggesting a postoperative state. A couple of people had replicas of their own heads tucked under their arms. I wanted to represent the lab I have in my head. I was thinking of a space that represents the creative act. “There’s a clinical clarity about what I am doing. Frankenstein of our lives,” said Michele. “It’s a playground that we can share all together,” Michele said.A procession of transhumans, walking in trancelike step through a suite of operating theaters: Bolted together from the clothing of many cultures, they were Alessandro Michele’s metaphor for how people today construct their identities-a population undergoing self-regeneration through the powers of tech, Hollywood, Instagram, and Gucci. The film closes with one of those crystalized heart minaudières lifting into the air. After walking the gauntlet of old-fashioned cameras that lined the runway, like superstars working a red carpet, the models paused in a darkened anteroom before pouring out into an imaginary forest where they cavorted with white horses, peacocks, and cockatoos. ![]() Hence the music video he made with his friend, the filmmaker Floria Sigismondi. They visualize Gucci a million different ways, a million different times,” he said in a one-on-one Zoom. “Young people look at the brand as a platform, a place. Michele gets that on a fundamental level, and he understandably relishes that he’s a culture maker as much as a designer of clothes and accessories. The truth of it though is that Gucci is as pop as fashion brands come. & Rakim that predate his arrival at the label by decades became embroideries and prints-Easter eggs for those in the know. Lyrics from songs touting Gucci by the Cramps and Eric B. But to make his point, Michele’s sampling went beyond famous Gucci-isms and Demna Gvasalia nods. He also reprised one of Tom Ford’s greatest hits, the red velvet tuxedo from fall 1996 that Michele said “made Gwyneth Paltrow famous,” with tweaks including new, more pronounced shoulders, a leather harness, and versions for both men and women.Īt the press conference, Michele spoke about the house’s 100-year legacy and “the power of the Gucci brand.” That legacy will play out on big screens around the world when Ridley Scott’s House of Gucci film starring Lady Gaga and Adam Driver is released later this year. ![]() Michele picked up on Gucci’s equestrian codes, giving them a fetishistic spin-one model cracked their whip as they made their way down the runway. Not unexpectedly it reexamines the house’s history this is standard operating procedure on anniversaries. Michele’s new collection is a celebration of that milestone, and in his fashion it’s a fabulously idiosyncratic one. Lil Pump kicked things off with “Gucci Gang.” Rick Ross and Bhad Bhabie rapped about a “Green Gucci Suit” and “Gucci Flip Flops,” respectively, and Die Antwoord, with an assist from Dita Von Teese, crooned about “Gucci Coochie.” Alessandro Michele, the house’s creative director, is a one-man hit factory-but of course he has a lot of good material to work with. The soundtrack to today’s Gucci show indicates just how deeply the Italian brand has penetrated the zeitgeist.
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