Since he arrived in Gucci in 2015, Alessandro Michele has done things his way, forging a unique visión that has positioned the Maison as one of the most desired brands on the market. It is now a hundred years since Guccio Gucci established his leather goods store in Florence. A trade turned into the germ of an empire, to which the creative director pays tribute in his new collection, Gucci Aria, which doesn’t stop at empty sentimentality and nostalgic homages. Equestrian inspiration, philosophical reflections on the passage of time and an unexpected allusion (on which there was speculation) to Demna Gvasalia’s work.
Separating himself from official calendars and seasons, Alessandro Michele keeps his promise to stay true to his principles and make fashion his own language whose rhythm cannot be imposed. He already hinted at it with his revolutionary #GucciFest concept. Traditional fashion shows are no longer enough to get the attention of an over-informed audience, who are demanding new formats and channels of expression. Or at least, they are not effective if there is nothing new to communicate. Michele does know how to choose the right moment, the one in which his message comes to be understood being well received by his public, fervent fans who have found in Gucci a project that transcends aesthetics, fusing it with a lifestyle based on freedom and self-determination.
Michele opens the doors of the Savoy Club to celebrate the hundred-year history of the Italian brand. A Maison from which he admits having made its own “laboratory of hacking, incursions and metamorphoses”, and in which the perfect symbiosis with the purest essence that the brand has consolidated in this last century allows him to explore new facets, pursuing the idea of movement he wanted to honour in his new proposal, Gucci Aria. To the rhythm of Gucci Gang, Lil Pump's single that already exceeds five hundred million listeners on streaming platforms, the Italian creative begins to unveil the ninety-four looks that make up his new collection.
A fifteen-minute journey in video format, recorded at Cinecittà Studios in Rome and co-directed by Floria Sigismondi and Alessandro Michele, in which the equestrian inspiration that has accompanied the Maison since its inception converges with the sexual tension so characteristic of Tom Ford. But if there is something that stands out on the blinding catwalk where the flashes of the cameras lead to an idyllic natural environment, alluding to the atmospheres that we have not been able to enjoy during the months of confinement, it is the direct allusions to Balenciaga. And it is that beyond implicit similarities that could have gone unnoticed, Michele brings together the Gucci monogram with the logo of the French fashion house on the same garments. A decision that his team does not recognize as a collaboration, capsule collection nor appropriation, which opens up a range of new possibilities to fashion. What does Alessandro want to tell us by this gesture? Are we facing a revolution in the sector marked by brotherhood and mutual support, in response to the feeling of competition that has prevailed in recent decades? We hope so.
Michele opens the doors of the Savoy Club to celebrate the hundred-year history of the Italian brand. A Maison from which he admits having made its own “laboratory of hacking, incursions and metamorphoses”, and in which the perfect symbiosis with the purest essence that the brand has consolidated in this last century allows him to explore new facets, pursuing the idea of movement he wanted to honour in his new proposal, Gucci Aria. To the rhythm of Gucci Gang, Lil Pump's single that already exceeds five hundred million listeners on streaming platforms, the Italian creative begins to unveil the ninety-four looks that make up his new collection.
A fifteen-minute journey in video format, recorded at Cinecittà Studios in Rome and co-directed by Floria Sigismondi and Alessandro Michele, in which the equestrian inspiration that has accompanied the Maison since its inception converges with the sexual tension so characteristic of Tom Ford. But if there is something that stands out on the blinding catwalk where the flashes of the cameras lead to an idyllic natural environment, alluding to the atmospheres that we have not been able to enjoy during the months of confinement, it is the direct allusions to Balenciaga. And it is that beyond implicit similarities that could have gone unnoticed, Michele brings together the Gucci monogram with the logo of the French fashion house on the same garments. A decision that his team does not recognize as a collaboration, capsule collection nor appropriation, which opens up a range of new possibilities to fashion. What does Alessandro want to tell us by this gesture? Are we facing a revolution in the sector marked by brotherhood and mutual support, in response to the feeling of competition that has prevailed in recent decades? We hope so.
