The alchemist’s garden



Michele wasn’t making any claims that his first amalgamated female/male collection show for Gucci was a bolt from the blue, a revolutionary turn against the last season. On the contrary, he finds it easier to focus when both sexes are considered together. “This is always my world. I want to swim in my ocean,” he said, wearing a yellow Gucci-logo T-shirt and a pale baseball cap as he showed people around. He feels it’s wrong to have to “tell a new little story” every season, he said. “We need to let the world not go so fast. If you’re doing that, you don’t reflect, and in these times we need to reflect more.” Michele habitually casts a subliminally strange, uneasy aura over all this when he comes to present it, always finding a dramatic device that puts some kind of film or filter between his audience and the show. Around they walked, completely enclosed in their own artificial environment, something oddly reminiscent of a piece of ’70s airport design. Behind them was a giant set of a black pyramid, topped with a weather vane. The strands of Michele’s taste for surreal, occult-tinged symbolism are hard to fathom. He likes to throw things off, here and there—this time, by encasing some looks in sparkling crystal bodysuits, faces and all. Not that it really matters. All the complexity he marshals at Gucci ultimately ends up as straightforward, commercially attractive clothes and accessories, intelligible Italian luxury desirable the world over.


 © 2019 by Matteo Menotto. All images presented in this website are for pure information only and cannot be reproduced without writtien permission of the author

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