Gucci’s New Glam

Appropriately coined “Sophisticated Seduction” by designer Frida Giannini, Gucci’s S/S 2011 show leapt from the woodwork and proclaimed that glamour is, in fact, back at the Italian House. Severed into three discernable installations, this show was unlike any other previously executed by Gucci under Giannini’s reign. Despite the stark fissures of color during the transitions, the show remained cohesive through silhouette and vision, credited mainly to the provocative photography of Guy Bourdin.

The show opened with a jolt of jewel-toned separates, draped and tethered by bronze python tassel belts. With down-to-there necklines, lustrous fabrics, sky-high slingbacks and colorblocking, the first eight looks recalled a more erotic version of Lanvin S/S 2009. The Lanvin girls go to a bachelorette party on a yacht in Miami, if you will. Not to discredit Giannini’s work, the skirt hemlines were the perfect length for such provocation, grazing the thigh just above the knee. Tailored jackets and beautifully draped halters were paired with these skirts and slim harem trousers, cropped right at the ankle. The Gucci glamazon is back.

The next installation of looks came in a subtler militia of camel and black. Giannini cited North African tribalwear as her main inspiration, which was made apparent by the Berber details, open-weave knits and heavy embellishment. Below the waist, drop-crotch trousers and laced leather leggings accented lightweight knitwear, buttery leather vests and suede jackets with fringe dripping from the seams. Fringe seemed to dangle from almost every piece, including a cropped black bolero constructed of nothing but long filaments of suede. The standout piece was a burnished crocodile jacket, the color reminiscent of pouring cream into black coffee. A take on the le smoking was interpreted through a luxe black jumpsuit with satin lapels and cuffs, a very modern nod to the great YSL. Gold accents accompanied every look, whether on the piping of the platform sandal, a braided cuff bracelet, or the hardware of the wide leather belts and low-slung toggled saddle bags.

Known as a quiet showman, Giannini embraced this notoriety and cut the house lights and music after these looks had walked. This pause for effect would ensure that the final part of her collection received the respect and attention of every showgoer that it deserved. As the lights rose and the music began again, audible gasps echoed throughout the venue. Five cocktail dresses in black, burnt orange, emerald, deep violet and mustard stomped down the runway with authority in matching velvet and leather stilettos. It’s no surprise Giannini saved these for last; the craftsmanship and effort that embodied each and every stitch must have been bountiful enough to make a seamstress weep, no doubt. With form-fitting, intricately beaded and embroidered bodices and voluminous skirts with plumages of feathers and tassels, it’s evident that the weight of the collection was invested in these five pieces. High haltered necklines elegantly elicited the North African theme and the glamour we had been missing from Gucci oozed from every stitch like a saccharine glaze. These closing looks catalyzed and adhered the collection together in a very fabulous and noteworthy manner.

How very quintessentially Gucci to amalgamate the house’s strong history of equestrianism, unadulterated sex appeal and primitive utilitarianism. The color palette, cerebral layering and draping, and luxurious mediums used cannot be beat. There is no question that this collection will be a pivotal point in Giannini’s career and in the history of the Gucci Group.