Saturday, June 5, 2010

International Fashion News

Gucci’s Women’s Autumn/Winter 2011-2012 Collection
February 25, 2011 (Italy)

Floating clouds of colorful fur, elusive transparency, masculine accents, glimpses of patent leather for a lady of mystery and irony. The stylish provocation of a daring colour palette. Eyes hidden by a wide-brimmed hat, with feathers, recalling an eccentric muse. For the Autumn Winter 2011-2012 season, the Gucci woman dresses with a cinematic allure and a strong seductive power. Entrancing like a performance by Florence Welch from Florence and the Machine. Intriguing like archive images of Anjelica Huston photographed by Bob Richardson. As a film noir in color.

“This is a contemporary female dandy who fuses glamour and seduction using the iconic codes of the House. She is a polished woman with a decisive personality, who is attentive to detail and willing to dare," commented Frida Giannini.

Sartorial details and dramatized Seventies proportions. Influenced by a vision of the Forties. The line drops down to the knee and flares. Stoles emphasize shoulders, tight on small masculine jackets with striking lapels and on coats with military detailing and a synched waist. Subtle feminine belts are accentuated with leather trim. Flowing, ethereal dresses give way to see-through effects and tie at the neck with long scarves. The masculine side returns with extra-wide pants, in lightweight nabuk or in exclusive British mélange fabrics. And the pant-skirt becomes a signature, paired with a caban and over-the-knee boots. Worn with black and white graphic prints. Polka dots, geometric prints, light pied de poule. For an incognito get away.

Skin on skin. The chemisier and the strapless dress in nappa, in whimsical colors. Teal, rust, emerald green, cherry, lilac, lime, highlighted by the artisanal fur treatments on a wild-deluxe caban, collars, sleeves, basques. Hand-painted python for biker jackets, shearling for hippy-style coats. And an artisanal fusing technique that unites fox, mink, and goat hair loomed into one piece. Through to the tranquility of silk and tweed electrified by unexpected details in patent with a Helmut Newton fetish flavor.

Columns of sensuality. Chiffon and organza dresses blowing across the skin. Airy, elusive eroticism, silk culottes underneath a transparent veil. Complemented by abstract and opulent floral sculptures realized with organza petals, chiffon, and habotai. Hand-painted flowers become one of a kind. For a secret garden.

A masterclass in the craftsmanship that has always been Gucci’s signature, marking a striking return to more structured bags. A spectrum of exotic skins. Crocodile, lizard, and ostrich assuming the color palette. The debut of the new Bardot, first created in 1975, with a spur closure in a semi oval shape. A series of new additions to the 1973 collection. While the New Jackie is newly proposed with a long detachable shoulder strap. Ton sur ton light plateaus for knee-high boots, in black patent leather. Mary Janes with contrast piping, with a python strap for evening. A geometric take on eyewear. Block-shaded oversized sunglasses with square lines. Maxi studs on the bangles for the evolution of the horsebit. Cartridge effect on the bracelet. Onyx earrings and a ring with a pointed prism. Jewelry for a dangerous beauty. 

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