Milan Fashion Week 2022: the distorted reality of Exquisite Gucci

Milan Fashion Week 2022: the distorted reality of Exquisite Gucci

MIGUEL MEDINAGetty Images

Having a home is essential to find yourself in the world, it is to establish a safe geographical coordinate, a landing place to rest the body and, perhaps, restart the mind and spirit. That’s what he did Gucci establishing its Hub in via Mecenate, with a non-negligible footnote: the walls, for those who know the address, are there, once inside, however, it is possible to get lost again. She proved it to the Milan fashion week with the show Exquisite Gucci.

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Welcomed in a warm environment between shades of fuchsia and violet, the guests played mirroring themselves on the reflecting and deforming walls, raised vertically and horizontally from the floor to the ceiling. Like dolls moved by a large carousel, they met, greeted, and then settled down, an infinite number in the midst of a parade of celebrities from the show, Rihanna the most awaited. After an abundant delay, necessary to sharpen that sense of estrangement that one feels in gradually losing the sense of the horizon, the lights went out and then changed: a rain of silver and flashes, to accompany them, the notes of the movie soundtrack The partisan Johnnyfollowed by the classicons of the Eighties Smalltown Boy e Fade to Grey that marked the steps of the wearers on a floor with large white squares framed by black joints.

Man and woman come out together, the maison has long ago decided to present the collections at the same time and, where possible, to cancel that limit between male and female in favor of the hybrid. Let’s see the first collaboration with Adidas, which is already cult only for the fact that it exists and which, in addition to the pieces where the logo is in evidence, is hidden in the details of gloves and mittens, in the back of the heels, on the cap of the balaclavas, it becomes an all-over print. Of the sporting attitude, ça va sans dire, there is not even an attempt, comfort is chosen out of habit, to be contemporary city animals. The other looks are what is now expected from Alessandro Michele’s creative direction: a fusion of tailoring and ready-made clothing, with the formal that has the cuts of the Seventies modeling brought back to the proportions of the Nineties and the rest of the wardrobe a glam sad, decadent, which always or never works. To dress is to represent oneself outside oneself, for the other who observes us or who we would like to be; here is again the importance of the mirror, which if it were smooth would give us back at least the profile of our silhouette and instead thus, between concave and convex, it fluidifies us as the filter of one of the apps without which we do not know how to say what we think would do. Thus, the set-up becomes “a metaphor for the power of fashion itself, something sacred that radiates from the fabric, from its tactile sensation and that lends itself to being manipulated”, explains the creative.

A bride in a black jumpsuit, with a train and a veil over her eyes, perhaps so as not to go crazy in the storm of flashes that closed the show, is the last to go out and walk the catwalk. It’s still daylight outside, we can go back to the other events on the calendar or try to post some shots that Gucci has already masterfully edited for us.

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