If you missed the Gucci Fall Winter 2016 Show for womenswear live from Milan on February 25, 2015 at 3PM, you can catch it here again one last time. This was one of the most highly-anticipated shows in Milan, featuring the new Gucci Creative Director Alessandro Michele.
I have to say I am so happy to see Gucci fall right back into modern play. As Alessandro Michele’s first show as creative director of Gucci, and quite possibly the most anticipated of Milan Fashion Week, (certainly the one with the highest stakes) opened the Italian fall women’s wear season.
Let’s be honest, Gucci had been a little lost and almost irrelevant for the past year or so – and this comeback was almost effortless and in lieu to all the 70’s frocks and themes we have been seeing as of late.
Two quotes in theme — one from the Italian philosopher Giorgio Agamben and one from the French philosopher Roland Barthes — and titled after the latter: “The Contemporary is the Untimely.”
It might not have entirely made sense, but on one level the point was easy to understand: This is not your grandmother’s (or even last season’s) Gucci anymore.
In his debut women’s wear collection, it felt like Alessandro delved into an imaginary attic trunk full of vintage treasures, recombining the elements for the girls and boys of a haute flea market world.
Some of my key highlights of this show and collection were the see-through point d’esprit blouses paired with below-the-knee pleated leather skirts; pink and red chevron minks and floral print trouser suits; rose-speckled chiffon tea dresses and red crepes with asymmetric tiers of pleats; and the pussy bow shirts and lace mini-dresses and rabbit coats. It was all merchandised perfectly, with nerdy oversize tortoise shell eyeglasses, knit beanie hats and brocade turbans, floral hair combs dripping wisteria, rings on every finger, canvas double G chain-strap bags, horsebit loafer/slippers and clogs lined in fur at the back, hairy bedroom slippers fit for Cousin It, and all with the intention for sale.
Alessandro also shared that his boyfriend likes to read him excerpts from his own books, and that’s where he first heard the Barthes and Agamben words. “I’m not really interested about philosophy,” he admitted. His connection to the relatively abstruse texts, in other words, was a human one.
Which was also the thing about this collection: while it was dressed up in the language and atmosphere (and expectations) of the Next Big Thing, it actually had the unpretentious feel of the comfortably familiar. It wasn’t Fashion, it was fashion; a parade of pieces with a nostalgic romance that could be plucked from a wardrobe, or plunked into one, with ease.
Alessandro shares a very similar approach with Nicolas Ghesquière of Louis Vuitton and Phoebe Philo of Céline, both of whom have been much praised for their willingness to make clothes. (I mean, this may sound ridiculous), but in the “through-the-looking-glass” logic of the runway world, this may quite possibly makes sense: this ultimately describes pieces that put the wear-ee, as opposed to the concept, first.
And the results are easy to buy, in both senses of that word. But in this game of fast fashion, this collection by any definition, is not new.
I can definitely see how some will compare it to the Tom Ford days, but frump-chic is the new folks.
What are your thoughts of this show? Share on the comments below!
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