Paris, Théâtre Le Palace.
A passionate, transgressive and radical, Alessandro Michele's Gucci last collection had its source of inspiration on two stars of the Italian experimental theater: Leo de Berardinis and Perla Paragallo, whose theater has long been a place of permanent dissidence with an idea that it challenges immobility, conformism and established power. For them, the theater cannot be just a show. They think should be seen as a primordial art of the collective knowledge of horror and joy of being.
This crazy theater, dazzling and visionary built by these two artists evokes new possibilities of meaning. A visionary tension where the theatrical poetry and expressive intensity are translated into the frontier of the possible. Michele has accustomed us to that constant idea that all past time was better and in that search, he manages to bring to the present what he likes most of the past, to reflect it into the future. A future full of dreams, sensuality and fantasy. As I have said before, Alessandro is the contemporary "Jesus Christ" of fashion, the same that with a vintage vision managed to lift, elevate, revive and return success to the Gucci house, filling it with the shine and luxury that over time lost.
The profile and the side of the designer are already quite obvious and it is in that mix between the Nerd and the Geeks, that carefree look, where he projects himself. This time we could see a Spring Summer with lots of color, lots of shine, maxi accessories ( like necklaces and hats ), animal prints, prints on prints, many fringes in movement, feathers of ostrich, volumes on the shoulders, asymmetries, and jockstraps worn outside of the trousers. Suits and bell-bottom trousers with a whole dance of the most popular disco party of the 80's. It would end with the rhythm of Baby Alone in Babylone, sung by the one and only, Jane Birkin, that generated that atmospheric load of sensuality that characterizes so much the artistic expression of the designer.
Words by Andy Durán
