Gucci reveals backstage secrets at Milan Fashion Week
Backstages secrets were out in the open at Gucci. Models were made up in the foyer as the fashion crowd arrived for the show. And they dressed on a rotating runway at the center of a circular show room, overseen by creative director Alessandro Michele, just out of view in the center.
Michele said he wanted to demystify back-stage rituals, which he likened in a series of mixed metaphors to a religious rite, to cinema, to a circus.
‘’We are all on that stage. Fashion is a complex mechanism, a sacred thing. We all work for this rite that is almost religious,’’ Michele told reporters after the show.
The collection reflected his mix of costuming and eccentricity, offering to the growing Gucci tribe multitudinous expressions that are gender fluid but also allow perhaps a pure form of self-expression by diving deep into the psyche.
As in menswear, Michele explored children’s clothes for adults, and it is not a stretch to say that his Gucci tenure, in its sixth year, is also sort of elaborate dress-up game, giving men and women the freedom to express themselves in ways they perhaps wouldn’t imagine on their own. Or, better put, to create a self they may only recognize when they see it on the runway.
How else to explain a baby-doll dress worn with patent leather collar, a French maid’s lace-trim mini-uniform with torn stockings and a riding hat and studded booties, or a pilgrim collar on a long black velvet dress and a large flat-top hat, tiered ball gowns straight out of a Little Women costume drama, and a bonnet with cat ears worn with a small smock dress.
‘’I did a bit the job of a costume designer, looking at things almost as a disguise,’’ Michele said. ‘’Then there were things done with great abundance, like bows that appeared to be created at the last minute by a mother, that belonged to other eras of childhood.’’