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GUCCI Fall/Winter 2012/13 by Frida Giannini
If there is one thing Gucci stands for as a brand, it is decadence, but this fall Frida Giannini placed its aesthetic into a very different historical context than the familiar, hard-edged sexiness of the ninteies or the brittle, shiny geometry of last season's Deco-flapper collection. Instead, she'd found her inspiration in the Pre-Raphaelite period, recasting Edward Burne Jone's consumptive heroines as a modern girls with plum-stained lips, bleached eyebrows, with their hair drawn away from their pale faces and twisted into flowing tendrils. The clothes they wore evoked a darkly poetic opulence, at times nymphlike, but with the fragility counterbalanced by references to a briskly dandy-ish masculinity with a dash of swaggering World War I militaria. It made for an extensive and varied flow of sophisticated clothes, softer and richer in tone, in a show which also encompassed the emerging ideas in fall's fashion narrative. It made for Giannini's best collection yet.
A girl in glasses opened the show, wearing a lond, narrow black velvet skirt with an oversize military jacket slung over her shoulders. As you turned to watch her walking away, she showed a flash of black-stockinged leg from a deep slit in the back of the skirt. Thus, the Gucci girl preserves her reputation as a femme fatale, but carries it off in a haughtily deatched, "not-trying-too-hard" effort to be sexy. From then on, Giannini worked with flocked velvet in floral patterns reminiscent of William Morris, tapestry-inspired jacquards, and printed silks, turning out the fitted sheath-dresses (another trend, done) and pajama-style pantsuits and smoking jackets, all emphasizing texture in a palette running from black to burgundy and deep bottle-green. She's always liked a jodphur-style pant and a flat boot - part of Gucci's equestrian heritage, too, of course - and when she threw a huge pekan fur military overcoat on one of those looks, it was amazing.
As for evening? The grand sweep of Gucci's options, from an off-the-shoulder emerald-green silk-and-velvet gown with poetically ballooning sleeves and a ribbon-tie sash, to a wrapped chiffon burgundy dress, sliding off one shoulder and trailing ruffles, to the six extraordinarily semi-nude, black tulle dresses embroidered with flowers, will have Oscar-going actresses' stylists frantic to book options.
GUCCI Fall/Winter 2012/13 by Frida Giannini
If there is one thing Gucci stands for as a brand, it is decadence, but this fall Frida Giannini placed its aesthetic into a very different historical context than the familiar, hard-edged sexiness of the ninteies or the brittle, shiny geometry of last season's Deco-flapper collection. Instead, she'd found her inspiration in the Pre-Raphaelite period, recasting Edward Burne Jone's consumptive heroines as a modern girls with plum-stained lips, bleached eyebrows, with their hair drawn away from their pale faces and twisted into flowing tendrils. The clothes they wore evoked a darkly poetic opulence, at times nymphlike, but with the fragility counterbalanced by references to a briskly dandy-ish masculinity with a dash of swaggering World War I militaria. It made for an extensive and varied flow of sophisticated clothes, softer and richer in tone, in a show which also encompassed the emerging ideas in fall's fashion narrative. It made for Giannini's best collection yet.
A girl in glasses opened the show, wearing a lond, narrow black velvet skirt with an oversize military jacket slung over her shoulders. As you turned to watch her walking away, she showed a flash of black-stockinged leg from a deep slit in the back of the skirt. Thus, the Gucci girl preserves her reputation as a femme fatale, but carries it off in a haughtily deatched, "not-trying-too-hard" effort to be sexy. From then on, Giannini worked with flocked velvet in floral patterns reminiscent of William Morris, tapestry-inspired jacquards, and printed silks, turning out the fitted sheath-dresses (another trend, done) and pajama-style pantsuits and smoking jackets, all emphasizing texture in a palette running from black to burgundy and deep bottle-green. She's always liked a jodphur-style pant and a flat boot - part of Gucci's equestrian heritage, too, of course - and when she threw a huge pekan fur military overcoat on one of those looks, it was amazing.
As for evening? The grand sweep of Gucci's options, from an off-the-shoulder emerald-green silk-and-velvet gown with poetically ballooning sleeves and a ribbon-tie sash, to a wrapped chiffon burgundy dress, sliding off one shoulder and trailing ruffles, to the six extraordinarily semi-nude, black tulle dresses embroidered with flowers, will have Oscar-going actresses' stylists frantic to book options.
Anna Dello Russo before GUCCI, in GUCCI!
Selections by ANDREA JANKE Finest Accessories
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: © VOGUE
Photography by © Monica Feudi
'A Gold-shared Statement by Gucci & Roberto Cavalli'
Spring/Summer 2012 collections, fashion show and insights of the Museo Gucci
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'A Gold-shared Statement by Gucci & Roberto Cavalli'
Spring/Summer 2012 collections, fashion show and insights of the Museo Gucci
2 comments:
Every design is a vision of Rich glamor. Elegant with sexiness to flaunt. J'adore the black lace-chiffon, sheer gowns, with high slash..they are feminine & fashionably sensuous.Your editorial is pure delight, dear Andrea!!!..Cheers, Shagun
This collection is lovely. Is that an ostrich feather?
Christina @ Ralph Lauren Jacket
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