For fall/winter 2018, Alessandro Michele’s Gucci was nothing short of a ‘clusterfuck’ – in a loving sense – of carefully calculated inspirations that served as a creative metaphor for how people construct their daily identities; an eerie embodiment of contemporary culture.
Posted September 7th, 2018By
The show opened with a stark white model cradling a replica of her own head, the runway embodiment of the self-obsessed, selfie-obsessed times in which we live. The proceeding collection was chalk full of Gucci-in-the-era-of-Alessandro-Michele illusions and cross-cultural meaning. There were Russian babushkas and odes to orientalism, folk-costumes and English tweed, baroque showgirls, Scottish plaid, headscarves and knitted balaklavas. Throughout this 90-look mish-mash of maximalism were Gucci logos galore, as well as the house’s signature delicate florals amidst a smattering of 80s vintage references, businessman suiting, odes to Coco Chanel, Hollywood iconography and New York Yankees-branded apparel and accessories.
After three years at the helm of contemporary fashion’s most buzzed about brand, creative director Alessandro Michele has come to the self-realization that his job is much like that of a surgeon, stitching together references and ideas each season that together, produce thousands of garments and accessories, and in tern, generate hundreds of millions of dollars. In actuality, the show’s hospital set backdrop and underlying analogy to procreation may not have been that far off.