At Gucci, Dressing for a Post-Human World
February 22, 2018 - fall Denim
Riddles, when they are good, make we think: They hang in your craw and keep we adult during night mulling a answer. Mr. Michele’s Gucci might be absurd in many ways, though it’s unfit to omit — and not only since it is so entire that it has turn an verb unto itself (“that’s so Gucci”), though since he has managed to encapsulate a disorderly impulse of transition. It’s a duration of “what if”-ing and enchanting thinking; fear stories and choice facts. Why not try on a new reality, literally and metaphorically, and see how it plays out?
Alberta Ferretti did, and it went like this: What if a lady were during a core of a universe? What would we all demeanour like then?
It’s a applicable doubt and, to underscore it, Ms. Ferretti put an huge steel sculpture by a Italian artist Lorenzo Quinn in a center of her uncover space. Titled “Gravity,” it decorated a exposed women unresolved by her hands from a crouching man. Gone was a frail Ferretti lady of yore, all floaty sheer rope frocks and angel tales; acquire a new, football pad-shouldered 1980s Ferretti, with a leather cape, a studded belt and a bit of disco gleam amid a whole lot of black and dim denim. Also, some grape and burgundy suede.
It was a step in a opposite direction, for sure. And she was not alone — Max Mara also had an ’80s moment, with a cacophony of corporate punk in pinstripes, leather (a lot of leather: bomber jackets and pencil skirts and pegged pants and gloves), angora imitation leopard and branded concert-type tees. Not to discuss leather suspenders unresolved off flattering most everything. They were ostensible to be provocative, though mostly looked pointless.
After all, a lady in a sculpture faced a future, and these garments faced a past. Looking back to go brazen might be a strategy, though that does not make it an advance. We’ve been there, ragged that, bashed opposite that potion ceiling. Let’s not repeat it, please.
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