Gucci Resort 2017
I believe that one of the key reasons for Alessandro Michele’s success at Gucci is not only because of the glorious creations he sends down the runway or the way the body rejoices when draped in sartorial elegance, but it is that which is not seen - the spirit he celebrates and reflects upon us all. You can feel the powerful emotion behind his collections where this Gucci resort 2017 collection was no exception: A Love Poem to London, sealed, signed, and delivered by a romantic Italian Anglophile.
What we saw yesterday at Westminster Abbey was the most genuine compliment one could give to this country’s rich history.
In my previous article I called out the lack of authenticity of this year’s resort collections, with branding sadly overshadowing the collections, but what we saw yesterday at Westminster Abbey was the most genuine compliment one could give to this country’s rich history from kings and queens and spoiled King Charles Spaniels to Mods, Yobs, and everything in between - with respect and truth.
Every possible connotation of Britishness was referred to, symbolised, and embellished. Let’s just refer to a few key designs: Tartan - a là posh and punk, Arts and Crafts patterns doing good ole William Morris proud, The union jack printed on a chunky knit and on Patrick Cox loafers, embroidered animal motifs - ALL HAIL THE CAT! Punk and Anarchy referring to Vivienne Westwood and the Sex Pistols, and the red thread holding it all together? The concept of more is more - the new Gucci signature and also the sort of antithesis to fashion.
Why do you need to dispose of something you love each season? Something which is part of your story?
Instead of see, buy, wear, throw away (a model popular with fast fashion), Gucci is embracing the fact that you should love your clothes. Why do you need to dispose of something you love each season? Something which is part of your story? The brilliance of Michele is he builds and layers and adds continuously, where maximalism trumps all and original accessories (old and new) make the (wo)man. This is the new direction of fashion and he is leading the way with vintage pieces breathing out new life.
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My favourite concept of this unique show were the characters which were portrayed - most in real street style. Some could be photographed by Phil Oh in Camden wearing Paul Simonon’s splatter-bleached jeans, Rainbow creepers, and luxe T- shirts, while others would be Tut-tutting along in Kensington wearing chic trenches, refined blazers and dress suits fit for the Queen (yes she is the ultimate style icon). Each character was so thought through where no matter where you looked, you couldn't help but wonder what their story was!
Oh wow - is that a suffragette?!
Look! There is Steven Hawking Cambridge years! There is a yob who stole the coat of a solider at changing of a guard! There is a rather sinister looking Alex DeLarge in a plaid suit! There is a flashback to a Sepia filtered coming out party from the 1970s! Here we have a aristocratic pre-Raphaelite! Over there is an Edwardian beauty in porcelain blue and white! There we have a go-go girl swinging into the 60s! Oh wow - is that a suffragette?!
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Everything was so incredibly poetic and you could tell by the smiles on everyones face, all perched on their own embroidered pillow, that this was a Moment. The question is however how long can this last? The issue with dedicating yourself one aesthetic so religiously can be a blessing and a curse… but there’s no need to worry now! Not when oversized floppy hats are on the table. Duh!
Bravo! Bellissimo! Gorgeous etc. Standing Ovation.
(If there is one thing out of the thousands of messages to take away from this show, it is that an Italian has proved how England is very much part of Europe in terms of aesthetic, history, and values. We cannot deny that. #Remain)
