Guccis \"pineapples\" were born out of some obvious origins. There was the 80s hair metal dude. The nebbish nerd. The Palm Springs grandma. The guy who likes Wes Anderson too much. Japanese paper parasols adorned with flora and fauna motifs in the beginning of the show transformed into oversized velvet lampshades at one point. Bamboo walking sticks became gold-tipped arrows that became a Godfather-esque scepter adorned with a white cat and a brass knuckles. Chinese peony prints decorated a qi pao in Look 9 by Look 112, it was on a ruffled blouse that looked more Swiss than Shanghai. This collection was as much about borrowing Oriental symbols (especially symbols associated with Western depictions of Orientalism, like Chinoiserie, rather than real Asian cultures) as it was about making the argument that parasols, peonies, and bamboo belong to the world, not just one culture. Plus, those elements have been an integral a part of Gucci's historic iconography and Michele has proven to be a master of tapping into Gucci's archive to present old tropes in new ways. It's worth mentioning that this has led to incredible financial and cultural success, even outperforming the cash-cow that was Hedi Slimane's Saint Laurent.<\/p>\n
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Is There Space For Political Correctness In Fashion? Gucci Says Maybe Not - Refinery29<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Guccis \"pineapples\" were born out of some obvious origins. There was the 80s hair metal dude Continue reading