GUCCI F/W 2015
Carnaby Street in Rome
A newly sensitive man and a faintly daffy woman at Gucci, in the first post Frida Giannini show in the new era at the Florentine house.
Guys in see-through blouses or lace tank tops, their necks wrapped in chiffon bows, their shirt tails sticking out of scrawny jumpers. Ragged haired men marched in hefty duffle coats, their hoods up; or men’s jackets ended at the elbow. Women in Carnaby Street style regimental coats with curvy lapels, or boyish suits, their feet clad in studded clogs.
In a word, posh Roman hippie chic. To be fair – a courageous first at bat by Frida’s former design team led by Alessandro Michele. He took the supportive ovation flinging back his hair, attired in an Aran sweater. A team of a dozen stood beside him fighting back the tears. Seeing as they had only five days to prepare this was a worthy effort.
All looks were anchored by Gucci loafers trimmed with fur – picking up a somewhat hackneyed Milan trend – in a series of Astrakhan sandals. Ideal if you are a Russian billionaire padding about a long-haul flight on a private jet. There was hardly a bag in sight.
Staged on a metal catwalk, which buckled at the end of the show, the finale felt quite frankly schizophrenic. Thanks to the show music; Clock Tick, by Abel Korzeniowski. In case that doesn’t ring a bell. It was the soundtrack to Tom Ford’s film “A Single Man.” But certainly the design team did not dip in Ford’s Gucci archives.
What worked best were some fine eye-catching new logo belts; one fabulous pale beige astrakhan coat and the overall sense of Michele’s team having a go, being determined to leave their imprint. Any attempt to compliment the designer was curtailed by a closed backstage – yes; it’s becoming a trend – and the presence of several heavies.
The show also marked the show debut of new CEO Marco Bizzarri at Gucci, who sat front row. Asked directly whether Michele would be designing the Gucci women’s collection due to be shown in February, Bizzarri giggled: “Oh, I don’t know.”