Muse Boards
Gucci F/W 2018
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, 2018
By
Colby Mugrabi
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.
References
Cecil Beaton
Baba Beaton, A Symphony in Silver, 1925
Andy Warhol
Paramount 352, 1985
Stephen Posen
Clean Clothes, 1969
Stefano Cerio
Mirabilandia Ravenna, 2017
Miguel Adrover
Top, Early 2000s
Saint Basil's Cathedral
Moscow, Russia, 1561
John Makepeace
Dorset Fruit Table
John Galliano
Dior Couture Fall/Winter 1997
Maison Martin Margiela
Fall/Winter 2002
Damien Hirst
Birth (Cyrus), 2006
David Gilhooly
Elephant Foot Stool, 1966
David Seymour
Mrs.Peggy Guggenheim at her palace on the Grand Canal, 1950
Louis Bourgeois
Untitled, 2002
Jan Brueghel the Elder
Bouquet, 1599
Frank Lloyd Wright
Bauhaus Metal Chair Midway, 1914
Paul McCarthy
Prop Object (Ken pink head) , 1995–1995
Piero Portaluppi
Casa Portaluppi, 1938–1939
Salonikis Synagogue
Tel Aviv, Israel
Walter von Nessen
Chair, 1928
References
Cecil Beaton
Baba Beaton, A Symphony in Silver, 1925
1 of 21
Andy Warhol
Paramount 352, 1985
2 of 21
Stephen Posen
Clean Clothes, 1969
3 of 21
Stefano Cerio
Mirabilandia Ravenna, 2017
4 of 21
Miguel Adrover
Top, Early 2000s
5 of 21
Saint Basil's Cathedral
Moscow, Russia, 1561
6 of 21
John Makepeace
Dorset Fruit Table
7 of 21
John Galliano
Dior Couture Fall/Winter 1997
8 of 21
Maison Martin Margiela
Fall/Winter 2002
9 of 21
Damien Hirst
Birth (Cyrus), 2006
10 of 21
David Gilhooly
Elephant Foot Stool, 1966
11 of 21
David Seymour
Mrs.Peggy Guggenheim at her palace on the Grand Canal, 1950
12 of 21
Louis Bourgeois
Untitled, 2002
13 of 21
Jan Brueghel the Elder
Bouquet, 1599
14 of 21
Frank Lloyd Wright
Bauhaus Metal Chair Midway, 1914
15 of 21
Paul McCarthy
Prop Object (Ken pink head) , 1995–1995
17 of 21
Piero Portaluppi
Casa Portaluppi, 1938–1939
18 of 21
Salonikis Synagogue
Tel Aviv, Israel
19 of 21
Walter von Nessen
Chair, 1928
21 of 21