On the floor there are velvety, fine tapestries bearing flowers and serpents. In the air are the sounds of Daemonia Nymphe’s Hypnos and its spellbinding lyre playing over the hushed voice of a woman reciting ancient Greek poems. The Gucci Spring/Summer 2016 collection is presented in a mystical, oriental, dreamlike atmosphere.
The models wear sheer and lustrous fabrics, chi on shirts, plissé skirts, flower print dresses, trompe l’oeil embroidery, long gypsy skirts, and biker jackets with studs. And the accessories: bejewelled hands, breathtakingly tall wedge heels, moccasins with fur, large sunglasses adorned with magnificent stones. “A grand tour of storytelling and decorative details and understanding how you can dress yourself di erently”, is how Alessandro Michele describes his collection. It truly does resemble the popular fashions of the late 18th century when young, wealthy, intellectual aristocrats travelled the Grand Tour throughout Europe.
But contrary to Goethe’s Grand Tour, the journey this time does not end symbolically in Italy, but rather begins there, spreading good taste around the world.
This continual harkening back to the past is seen once more in the vintage charm that is influenced by at least three historic periods: the 18th century, the Renaissance and, needless to say, the 1970’s. It is a very modern genderless exploration: the deconstruction of Tom Ford and Frida Giannini’s sensual woman (or better yet, sensuality that can no longer be reduced down to the female gender), Alessandro Michele’s collections travel through time, and Gucci has once again become a super social brand that is sophisticated, desirable. Elegantly contemporary, in just two collections he has already created a new style that is clearly recognisable. Increasingly perceived in the wise words of Ennio Flaiano. “A licted by an equality complex. One does not feel inferior to anyone”. Not anymore. Limitless.