Milan ? Right after two weeks in New York and London of unadulterated print mania and arty pastoral imagery, along comes Gucci with a hard-edged counter blast, an Art Deco moment of haute glamour.
So obvious and pre-eminent was the Art Deco graphic imprint it was as if the Chrysler Building walked down the catwalk in this Gucci show, staged in the Florentine brand's theatrical show space in central Milan on Wednesday, Sept. 21.
Gucci's creative director Frida Giannini telegraphed her intentions with her invite, a shiny gold card, the same color that lined the catwalk, backdrop and decorative columns at this show.
For next spring, Giannini wants to see women in graphic bolero jackets in zig zag golden designs, worn over chiffon trousers with broad, vertical military stripes. The designer finished everything with metal trim - gold chains as piping along jackets, gold spike heels. Or make that green and gold, as the opening quintet of passages all featured emeralds, used as diagonal stripes in a posh rocker leather jacket or starring in a drop gorge mess jacket with satin lapels. Decorative motifs of tiger heads and soft shell crabs in faux lapis lazuli, and giraffe and leopard prints added to the bold graphic sensibility.
"Everything started from the idea of architecture in the 20s, with its strong graphics. Though not just from buildings, my inspiration was also high jewelry and the attitude of the times - a boyish versus girlish moment," Giannini explained.
For evening, the designer switched from the mannish tailoring of the daywear to seductive sleek at night, setting the pulse racing with sexy flapper looks, sleeveless cocktails in bold geometric and metallic patterns.
"The boyish part was Nancy Cunard, strong and powerful yet decorated. The girlish side was Louise Brooks for evening, with lots of patterns and chains. I wanted something very clean and sharp, because for me Deco is a great moment in art and design. My house is all like this," said Giannini, referring to the legendary society hostess and the famed silent movie star.
Though reminiscent of flapper parties on cruise liners, the look was cleverly updated with sleek modern fabrics. However, as a show it was just that tad too repetitive, with essentially two main aesthetic statements, rather than the four or five Giannini usually serves up. Maybe the very architectural rigor restrained the designer, for while a self-assured statement about style, this show never really soared - as the restrained applause at the finale indicated.
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