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Gucci RTW Fall 2019

There was some heady stuff going on at Gucci. Not your-head-in-your-hands heady, but of the masked variety, starting with the arrival of Alessandro Michele’s click-bait invitation, a plaster-cast classical theater mask, each delivered in its own wooden crate. (The eco facts are unknown, but the optics didn’t scream low-waste environmental awareness.)
The mask — not the invitation version exactly, but others — would recur throughout the collection, a reference to classical theater (person vs. persona), and the German political philosopher Hannah Arendt who, along with writings on good, evil and totalitarianism, also apparently viewed the mask as more than a cover. (I’m taking her mask musings on show-notes faith here): “The mask becomes the means through which we become what we feel we are.” In Michele’s fall show, the mask also became one of two major accessories. The other: spikes, big, sharp and scary, descendant of punk wear of yore while telegraphing current, aggressive self-protection from every point.
Which begs the question of whether, for the first time since he became famous, Michele is working from a defensive position. After several years of mostly rapturous praise, the designer’s baseline aesthetic — eccentric magpie, nerdy and gentle — is now well-known, and it’s

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Via:: https://wwd.com/runway/fall-ready-to-wear-2019/milan/gucci/review/