Fashion houses usually do not ask reviewers to watch the same show twice. For this resort collection, however, a double-viewing on the Gucci agenda was very high. The reason for this will prove what we were seeing, but where were we watching it.
For the first time, at 4 pm-Ish, we rolled into the Gucci collection in Palazo Setimani. It originally sits on the southern Oltrono side of the 15th -century building Florence, and was the main workshop of Gucci since 1953. In the 1990s, Tom Ford kept the Gucci showroom on the role up. And then in 2021, to match the centenary of Gucci, it was rebuilt by Alesndro Mitchell as a house archive.
In addition to critics, the first show was particularly high for VICS: the congregation that is the most true for the house. We once got in Ford’s showroom, and got a chance to check the performance of your bamboo bags. Above, silk cabinets which I remember was removing a raised runway flooring four years ago to allow the construction of the floor, whose surface was a mirror mirror.
The collection we saw above seemed to some extent to look as a amalgamation of several stages of Gucci’s ready-to-wise past. Its guiding spirit was a late mid-century jet-set glamor that Ford had recognized in the DNA of the house, then replaced with dust during its time. Brushstrokes were leveled from the front for their heir to their successor around these basic winged chubis and a deep -neck sequin gown; Michelle’s bow and maximum juicyness, Gianini’s fit sleekness, Daro’s net pattern and exterior of masculine leather. More broadly a hyper-style, almost cinematically detailed as the collapse of the collapse of the feminine bourgeoisie which sometimes landed as close to the scene, as it was done to Ano.
After that, the first show Gucci’s CEO Stephano Cantino performed the gender on the runway. He revealed that, from a distance, the artistic director of Gucci was Demona – as you expect would have fully known about its development, even if it is not yet formally in charge.
A few hours later, we returned to another show after a brief spatter of rain that gave Gucchi employees. It was a very much public-fulfilling: an audience including Paul Mascel, Viola Davis, Julia Garner and Jeff Goldblum participated in the collection. However, instead of joining them, we were shown spots in a public class around Piaza Santo Spirito, a public class around the reviewers. This is why the rain was so worrisome due to rain: Gucci employees were also scores who were sitting in bars and cafes adjacent to the square, and there was a healthy crowd of Florentine fashion fans who were looking under the basilica. First we heard the Annio Moicone Soundtrack from inside the archives, before the models appeared around the corner of Dellel Caldi, beyond the pitched flagstone and around the fountain of dismissal.
Finally, our double performance was to showcase Gucci’s intention to survive his collection. This studio-designed collection worked to fresh the Gucci’s past to freshly insert it and by doing so, some still rebuked its future.
