Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli

Happiness is just a hairflip away.
Chris Crocker


"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford



Gucci couldn't wait for the future a second longer. Frida Giannini finally left the company earlier than planned, and the menswear collection she was to present was replaced in every last detail, right down to the model casting and the seating arrangement for the show. And all in five days. Scarcely credible, but if you ever needed proof of the ancient adage that where there's a will, there's a way, then here it was. A tour de force signed by Alessandro Michele. Over his long tenure inside the Gucci design studio, he held a variety of roles. By the way, he was hired in 2002 by Tom Ford, then creative director.
Inevitably, the droopy, androgynous languor of the show and its blurred gender divide (a curious concomitant of Prada's presentation) cast a very different spell from the previous designer's recent collections. But there may actually have been a curious commonality in the fact that she was always inspired by musicians, and the clothes here also felt rooted in a subcultural music scene. It was as though someone had been paging through Rizzoli's recent tome devoted to the first ten years of Another Man magazine, with the likes of Bobby Gillespie fearlessly carrying on the legacy of Mick 'n' Keef, wearing their girlfriends' chiffon and crepe, effortlessly easing snake hips into skinny trousers. "Visceral storytelling through fashion" was the declared intent of this collection, and the visceral clearly lived in looks that will undoubtedly enflame anyone who carries a torch for Gucci's jet-set legacy -something which, to her credit, Frida Giannini managed to adapt to her own devices during her eight years as creative director. Take your pick from the stock-tied blouse in red chiffon, the slinky gilded top in red lace, or the eensy governess jacket with three-quarter sleeves. The shoes, one of the cornerstones of Gucci's accessories business, were pony sandals and mink-lined scuffs. The very deliberate 'sissiness' seemed a glaringly obvious way to distance this collection from its immediate past. But how could that become the launchpad for the label's next incarnation ? Maybe there were clues in the qualities the show notes isolated as definitive of the new Gucci : nonconformist, romantic, intellectual. Some of the models sported bérets, spectacles, and long, skinny scarves. There was a duffel coat in a dazzling red. Right proper existential. Was it enough ? The women's show a few weeks later provided more of an answer to that question. For now, Alessandro Michele took a bow surrounded by his team. It was a generous, democratic gesture, and it was as far from luxury's designer hauteur as those lank-tressed éphèbes shuffling down the Gucci catwalk in their chiffon pussy bows.
Interestingly enough, note that Alessandro Michele received the prestigious International Fashion Designer of the Year award at the British Fashion Awards last November. Compared with Karl Lagerfeld or Ralph Lauren, Alessandro Michele is hardly a marquee name. But if the marker of a fashion label’s relevance is the extent to which the high street chains have noticed it, then Gucci is now the most influential in the world. Zara, Topshop and H&M have already borrowed from his vintage-y boho lexicon. By next spring, Gucci-inspired apparel will be everywhere. Because, yes, the speed and scale of Gucci's resurrection is astonishing. Each new collection created a social media storm, partly because, even before gender fluidity became one of 2015’s cultural obsessions, he dressed his male models in women’s clothes, and vice versa, but also because he wiped away Gucci’s increasingly dated, hard edges and replaced them with a romantic patrician softness. His most popular pieces, including floral prints and a re-worked backless loafer, are sell outs, while sales of classic Gucci items, such as its double G belts and bowling bags, haven’t been this buoyant since its golden era in the Nineties. Credit should also go to Gucci’s new CEO, Marco Bizzarri who had the courage to appoint someone unknown even to most fashion industry insiders.

I'm reading: GucciTweet this!