Figure 1: SS18, (Casely-Hayford, 2017)
GUC C I
Spring Summer 2018 and Autumn Winter 2018 Appraisal
M E GH A N BR OW N E
Figure 2: Gucci logo, (Hunger, 2018)
Student Number: 201210904
Word Count: 1990
C ON T E N T S
Figure 4: Gucci SS18, (Rossini, 2018)
Introduction SS18 - Look 9 Jacket Trousers Accessories Shoes AW18 - Look 5 Jacket Trousers Bag Conclusion Reference list Figure list
I N T R O DUC T I ON
The process of a fashion trend is cyclical as a result of the trend’s eventual inappropriation at the time of establishment (Drew and Sinclair, 2015, p.637). Drew and Sinclair (2015, p.368) highlight that a trend will never return in the exact same style as it was originally introduced due to developments in technology and the social climate. Style regeneration refreshes past trends into current consumer lifestyles, as represented by Gucci’s SS18 and AW18 collections. The creative director, Alessandro Michele, has created 2 collections with reinterpretations of past trends in styles that would suit today’s consumer. The eclectic mix of designs provides a range of historical reference which can be traced back to different fashion eras.
Figure 3: Gucci AW18, (Allwood, 2018)
SS18 - LOOK 9 Figure 6: Gucci Look 9, (Madsen, 2017)
Figure 7: Gucci Look 9, (Mindfood, 2018)
Figure 5: Gucci Look 9, (Aulia, 2018)
With the collection being described by Présigny (2017) as “all about fashion history and breaking the rules”, it is not surprising to see pieces in each look of the collection juxtaposing each other.
Figure 8: Chanel’s first female suit (Mambu, 2019) Figure 5: Gucci Look 9, (Aulia, 2018)
JA C K E T The trend of jackets in womenswear can be traced back to 1914 through the release of Chanel’s “female suit” (Komar, 2016) with connections to the first steps in rights for women. The trend was re-adopted in the 1940s as war efforts resulted in women taking on masculine job roles, culminating in uniforms of a traditionally masculine style with jackets (V&A, 2019a). With influence from Dior’s new look, jackets of this era had natural, sloping shoulders (V&A, 2019a). Although women’s jackets continued to evolve into the 1980s to represent a more domineering work woman, Michele has seemingly taken accents from a more relaxed style of the 1940s through loose fitting and sloping shoulders to form the silhouette for this look (Komar, 2016; V&A, 2019a). Gucci’s double-G logo was established in 1970 and could be seen throughout different products at the time, showing the importance of creating an identity (Tungate, 2008, p.164). Through using the double-G logo, the jacket pays homage to the 1980s in which brands were using expensive channels to sell the brand, rather than just its products, as spoken through Naomi Klein (2000); “Gradually, the logo was transformed from an ostentatious affection to an active fashion accessory” (Worsley, 2011, p.177). This trend has been adapted in the look 9 jacket through the use of embroidery in their typical brand colour of red, supported by green binding accents to create strong branding.
Figure 9: WW2 women’s uniform, (Women of WW2, 2017)
Figure 10: Dior’s New Look jacket, (Harper’s Bazaar UK, 2015)
T R O US E R S
Once again displaying the double-G logo, the trousers used in this look are traceable through their silhouette. Flares originally gained interest in the mid-1960s through the celebrity channel of Sonny and Cher (Whitmore, 2015). This exposure through music and entertainment was typical during this era, as displayed through
the global adoption of flares in the 1970s as a result of music acts such as Abba; promoting the disco trend (Herald, 2007, p.55; Pena, 2018). Although it is documented that flares increased in size throughout the decade, in look 9, they take a more straight-leg silhouette with a more subtle expansion towards the calves and, in
Figure 12: SS18 Trousers and Shoes, (Thy Magazine, 2018) Figure 11: Sonny and Cher, (The Telegraph, 2015)
Figure 13: Abba, (Donaldson, 2017)
contrast to the historic use of thicker fabrics, are made from a sheer material to reflect the future trend for Spring/Summer 2017; the year after the collection walked (Edwards, 2017; Pena, 2018).
AC C E S S O R I E S
Throughout the 20th century, jewellery trends have been adapted to suit the expectations of the decade. Although the jewellery shown in the SS18 collection is authentic, it has a costume-like style due to its heavy look, chunky jewels and pearls, originating in 1913 through Paul Poiret (Worsley, 2011, p.47). Pearls can be traced back to the 1920s where, as a result of the economic boom of post-World War 1, women were over-spending on jewellery due to influences from Coco Chanel (House, 2017). In the Gucci jewellery set, pearls have been used to add a more delicate touch to a set of jewellery that could be seen as quite heavy. This boldness of design can be traced back to the 1970s as it was typical to wear statement pieces in concentrated colours as a result of the disco movement (House, 2017). Michele has adopted these trends through embellished logo design in order to provide the consumer with a trademark; an asset in the 1980s (Worsley, 2011, p.177).
Figure 14: Gucci Double-G earrings, (Gucci, 2019)
Figure 16: Double-G broach, (Gucci, 2019)
Figure 15: SS18 jewellery close-up, (Anon, n.d.)
AC C E S S O R I E S
Immediately, it is clear that the sunglasses used in look 9 display traits of the space-age style of the 1960s. The space-age style is recognised as a movement in which boundaries were pushed in terms of the angular shapes and use of new materials (Vernuccio, 2017; V&A, 2019b; Dallabona, 2019). This pair of sunglasses can be seen as innovative with regard to the unconventional futuristic shape and the expected monochrome colour scheme has been adhered to through the use of white-silver crystals, adding to the futuristic appearance.
Figure 19: SS18 crossbody bag, (Gucci, 2019)
Figure 17: SS18 sunglasses close-up, (Gucci, 2019)
Figure 18: Space-age fashion, (Borrelli-Persson, 2017)
The crossbody bag, portraying strong Gucci branding, can be linked to its creation in the 1950s (Sherene Melinda, 2015). The original use of the bag was for a functional purpose of carrying in certain occupations, which was then shifted into fashion due to the well-known comfort of the bag attributable to the functional strap shifting the weight to different portions of the body to avoid strain (Sherene Melinda, 2015). The translation of the trend into this collection involves downscaling into a smaller bag which is more suitable for the fashionable women to transport smaller necessities.
SHOES
Figure 20: Rainbow platform by Salvatore Ferragamo, (The Met, 2019)
Figure 12: SS18 Trousers and Shoes, (Thy Magazine, 2018)
Aspects of the heeled sandals chosen for this look can be traced back to many decades of fashion. With reference to the platform aspect of the shoe, the style entered the fashion cycle in the 1930s through Salvatore Ferragamo’s creation of the rainbow platform heel (Wang and Sylvester, 2015; Borrelli-Persson, 2016). In the years after World War 2, the women favoured a classier style; the stiletto, therefore abandoning in favour of femininity (Borrelli-Persson, 2016). Platforms then re-emerged through the club culture of the 1970s which targeted both men and women, predominantly worn in the winter due to the ease of movement compared to other heel types (Worsley, 2011, p.90; Wang and Sylvester, 2015; Borrelli-Persson, 2016). Moderately heighted platforms tended to be worn with daywear which seems to be the angle taken for look 9 through the lower platform at the front with a block heel, reflecting the ease of movement required in the 1970s (Worsley, 2011, p.90). Michele has adapted this trend through a sturdier heel and base, whilst adding femininity through the thin straps and pairing with lace tights.
AW 1 8 - L O O K 5
Figure 21: AW18 looks, (Anon, n.d.)
Originally presented at Milan Fashion Week, Alessandro Michele’s Autumn Winter collection drew inspiration from medieval features and myths (Donato, 2018). Once again amplifying juxtaposition through the look, Michele curated a looser style for look 5, with contrasting patterns being prevalent throughout. Figure 22: AW18 Look 5, (Madsen, 2018)
JA C K E T
The diverse range of features used for the jacket can be traced back to different trend eras. The adoption and abandon rate of the embellishment trend was rife in history, originating in Ancient Egypt with King Tutankhamun donning a multitude of jewels with a view toward being wealthy in the after-life (Leaper, 2017). This was alternatively interpreted in the 20th century; first through the 1920s introducing the trend in consequence of flapper dresses to suit the jazz music style (Leaper, 2017). When the World Wars transpired, due to there being great emphasis on simplicity and sparing materials through rationing, embellishment transpired to serve these guidelines. Jewels were then re-adopted in the 1970s through the club scene, highlighted by The Supremes and Diana Ross, as they were the “go-to for a show stopping look” (Leaper, 2017). Gucci have interpreted this sequin trend through a modern technique of using rhinestones in the pattern of the double-G logo across the main panels of the garment. The rhinestone placement on the stronger panels on the shoulders have been used to follow the direction of the construction, as well as an Aztec style pattern on the bishop sleeves. The turtle neckline is an unusual aspect of the jacket which can be traced back to being worn to protect the working-class (Fashion Fabric Sourcing, 2016). This developed into 20th century fashion through knitwear, initially through ‘The Sweater Girls’ in the 1950s; leading to the underground movement of the ‘Beatniks’ adopting the trend in the 1950s-60s through dressing in black head-to-toe, therefore achieving this with the high polo neck (Fashion Fabric Sourcing, 2016; Skidmore, 2016). Audrey Hepburn gave a celebrity attraction to the neckline through her part in ‘Funny Face’ and, as of the 1990s, the turtle-neck became a classic (Fashion Fabric Sourcing, 2016). The adaptation of this trend in look 5 is unusual as this neckline is not formally seen in mainstream jackets. The distinct frame created by the shoulder pads pays homage to the power dressing movement of the 1980s as broad shoulders represented a powerful demeanour as women were liberated in managerial roles (Sunnucks, 2016). This has been interpreted by Michele in a more exposed style as, traditionally, shoulder pads are inside the jacket to add volume. However, in look 5, the leather embellished panels on the outside of the jacket create the broad shoulders through a quilted, circular panel that is seen to come under the arms and behind.
Figure 23: Look 5 jacket, (Net-a-Porter, 2019)
Figure 24: Audrey Hepburn, (The Vintage Handbook, n.d.)
SKIRT
The abrasive colours of the full-length skirt can be traced back to the ‘hippie movement’ of the 1960s. The purpose of the movement was to resist against the ‘norms’ of society through a need for freedom (Schwanke, n.d.). This was reflected in the fashion of this social group through psychedelic designs and bright colours. This has been interpreted on this garment through the use of clashing but complementary colours; in terms of the colour wheel. This creates a statement which mirrors the hippie movement due to the colours seemingly merging when viewing the pattern from a distance, creating a hallucinatory perception. The pattern of the garment has aspects of the art deco movement through the geometricity of the tessellation. The art deco movement was at its peak in the 1920s/30s and is recognised for its geometric patterns and lines, inspired by architecture and industrial inventions (Watson-Smyth, 2014; The Tate, 2019). This movement has been interpreted by Michele in a psychedelic fashion, prompted by colours, lines and pleats. The geometric arrow line pattern creates a visually-pleasing and equal motif with strong lines and shapes which could’ve been achieved digitally, rather than more free techniques used in the hippie movement, showing the contrast between the rigid, mathematical pattern and the bold colour interpretation by Gucci and the historical free-spirited and more relaxed patterns used in the 1960s. This liberation of the 1960s is also reflected in the length and fit of the skirt. At the beginning of the 20th century, Paul Poiret began to create new garments with a natural silhouette as opposed to the past garments which were figure-constricting (Conway, 1998). The hobble skirt then developed into a style called the walking skirt which most matches the aesthetic of Michele’s hemline and fit (Conway, 1998). It was re-appropriated in the 1960s to fit the looser, freer hippie style as previously mentioned (Conway, 1998). This flared aspect is reflected in the look 5 skirt, conforming to the loose character created by the outfit.
Figure 25 and 26: Look 5 maxi skirt, (Net-a-Porter, 2019)
Figure 27: Hippie movement, (Caleb Loftin, 2019)
BA G
As previously touched upon in the Spring Summer collection, Michele has once again utilised aspects from space-age fashion. The use of silver new materials by Pierre Cardin formed characteristics of the space-age design, especially through the popular silver tunics (Lutyens, 2019; V&A, 2019b). Along with the typical Gucci logo and colours, silver metallic fabric and rope have been used to construct the product through a quilted fabric, which, in itself, connotes luxury. Gucci have used this futuristic theme in the bag through this fabric which is made possible through upgrades in production techniques to create this finish on a fabric.
Figure 28, 29 and 30: AW18 bag, (Gucci, 2019)
C ONC LUSI ON
Through both collections, Alessandro Michele has drawn from a range of historical fashion eras to create an eclectic mix of garments. Through the updates given to these trends, they have been given a new life in a contemporary context which can appeal to the modern-day consumer. This appraisal has highlighted the wealth of culture to draw upon for inspiration in contemporary design and fashion.
Figure 31: SS18 collection, (Wmag, 2017)
REFERENCE LIST
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F IGU R E L I S T
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Figure 21: Anon. n.d. AW18 looks. [Online]. [Accessed 2nd May 2019]. Available from: https://www.pinterest.co.uk/pin/836684437004199533/ Figure 22: Madsen, A. 2018. Gucci Autumn/Winter 2018 Ready-To-Wear Collection. [Online]. [Accessed 2nd May 2019]. Available from: https://www.vogue.co.uk/ shows/autumn-winter-2018-ready-to-wear/gucci/collection Figure 23: Net-a-Porter. 2019. Cropped crystal-embellished leather jacket. [Online]. [Accessed 2nd May 2019]. Available from: https://www.net-a-porter.com/gb/en/ product/1084525/gucci/cropped-crystal-embellished-leather-jacket Figure 24: The Vintage Handbook. n.d. Audrey Hepburn. [Online]. [Accessed 2nd May 2019]. Available from: https://vintagehandbook.wordpress.com/funny-face-beatnik-makeup/ Figure 25: Net-a-Porter. 2019. Pleated printed silk-twill maxi skirt. [Online]. [Accessed 2nd May 2019]. Available from: https://www.net-a-porter.com/gb/en/product/1084543/Gucci/pleated-printed-silk-twill-maxi-skirt Figure 26: Net-a-Porter. 2019. Pleated printed silk-twill maxi skirt. [Online]. [Accessed 2nd May 2019]. Available from: https://www.net-a-porter.com/gb/en/product/1084543/Gucci/pleated-printed-silk-twill-maxi-skirt Figure 27: Caleb Loftin. 2016. The Hippie movement of 1960. [Online]. [Accessed 2nd May 2019]. Available from: https://www.youtube.com/watch?v=Pd9BVK2O3mU Figure 28: Gucci. 2019. Laminated leather small shoulder bag. [Online]. [Accessed 2nd May 2019]. Available from: https://www.gucci.com/us/en/pr/women/womens-handbags/womens-crossbody-bags/laminated-leather-small-shoulder-bag-p-5410510U12T8562?position=87&listName=SearchResultGridComponent&categoryPath=Women/Womens-Handbags/Womens-Crossbody-Bags Figure 29: Gucci. 2019. Laminated leather small shoulder bag. [Online]. [Accessed 2nd May 2019]. Available from: https://www.gucci.com/us/en/pr/women/womens-handbags/womens-crossbody-bags/laminated-leather-small-shoulder-bag-p-5410510U12T8562?position=87&listName=SearchResultGridComponent&categoryPath=Women/Womens-Handbags/Womens-Crossbody-Bags Figure 30: Gucci. 2019. Laminated leather small shoulder bag. [Online]. [Accessed 2nd May 2019]. Available from: https://www.gucci.com/us/en/pr/women/womens-handbags/womens-crossbody-bags/laminated-leather-small-shoulder-bag-p-5410510U12T8562?position=87&listName=SearchResultGridComponent&categoryPath=Women/Womens-Handbags/Womens-Crossbody-Bags Figure 31: Wmag. 2017. Gucci kicks Off Milan Fashion Week with a bag, Eighties Figure Skaters, Medieval Ravers and Bugs Bunny Sweaters. [Online]. [Accessed 2nd May 2019]. Available from: https://www.wmagazine.com/gallery/gucci-kicks-off-milan-fashion-week-eighties-figure-skaters-medieval-ravers-bugs-bunny-sweaters/all