After lingering in nightclubs for a few seasons, Gucci finally got a good night’s sleep and awoke refreshed - in the capital of Brazil. Frida Giannini specifically cited as inspiration the mid-century architecture of Oscar Niemeyer, who designed many public buildings in Brasilia. She translated their modernity into slim suits in white cotton jacquards and piqués, then furnished those with vintage Seventies patterns on shirts and ties. Sportswear alluded to wind sports like sailing. Jackets made of leather, neoprene and nylon—still mainly white, but with blocks of blue and gray—looked built for speed. Most of the Gucci bling had been swept out to sea, leaving just glinting zippers and snaps. As a counterpoint to this high-tech athleticism, handmade intarsia sweaters featured folkloric patterns, magnified to graphic effect. The patterns extended into evening suits, with shimmery trims or in glossy silk prints and jacquards. Giannini banished ties for evening. Even exotic leather goods looked more casual. Crocodile and python skins were processed for a matte, rubbery texture. Classic loafers ceded the floor to less formal driving moccasins and high-top sneakers. In sum, the collection was a restrained vision of the good life, but still showed the Gucci man a groovy, good time.
No comments:
Post a Comment