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.

Gucci's Natty Cinematic Glamour

Godfrey Deeny
February 23rd, 2011 @ 6:45 PM - Milan

Glamour in all its opulent, seductive and giddy glory was the heady message of the latest Gucci collection staged in Milan Wednesday, Feb. 23, the opening day of the Italian season.

Bedecked in colorful fedora hats, sporting super snazzy crocodile boots and strutting out in goat hair jackets, the models in this show represented ladies that demanded, indeed craved, attention. And forget about somber, sober color palette, as Gucci's creative director Frida Giannini whipped up a heady concoction of bold turquoises, Imperial Roman purples and shiny emerald greens.

“I wanted something cinematic; glamour not in a predictable, boring way, but with real mystery. With the style of the '40's and the energy of the '70s,” a newly tanned Giannini said post show, mentioning Anjelica Huston and Brigitte Bardot as inspiration.

Best of all, Giannini really put the Gucci atelier into overdrive, particularly with a stunning mink and fox gray coat of exceptional technical dexterity that had editors scribbling in their note pads. Plus the show, the first major collection staged in Continental Europe for the fall 2011 season, announced a bold new silhouette, maxi coats, further elongated by being paired with micro belts, mega flared trousers and exaggerated masculine collars. Audacious shapes for audacious women.

Giannini's bright mix continued in some natty new bags, especially a revamped Bardot, first launched in 1975, which features a spur closure snap and artily dyed middle section.

Significantly, the collection was also the first that mined the modernist DNA of Gucci, one that Giannini’s most noted predecessor, Tom Ford, who was evicted as a designer some six years ago, riffed in frequently. Semi-sheer evening looks, bold fox boleros and racy satin cocktails all recalled Ford’s time with Gucci. Two editors tweeting behind this reviewer and three experienced editors all commented on the similarities with Giannini’s famous predecessor.

Giannini gave all these elements a far more feminine touch, and made them very much her own. Moreover, in the wake of the ultimately tepid reviews by serious critics of Ford’s own first women’s signature collection in September, shown in New York to a highly restricted group of fashion insiders none of whom were allowed to photograph the clothes, this collection was ultimately a significant success for Giannini. Why? Because she recuperated the glamour of Gucci on her own terms.

That said, as a show the event lacked punch. A pretentious soundtrack, formulaic casting, less than judicious hairstyle (most models wore hackneyed, crinkly hair extensions) did not do justice to a powerful collection. For this was a crafty statement of gutsy modern dressing, a commercially savvy understanding of what women want to buy and a great statement about the independence of women and their right to wear racy, sexy and alluring fashion.

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