21 posts tagged "Frida Giannini"
There’s construction under way at Gucci’s Fifth Avenue flagship, but it’s not your average renovation. The work currently on view there is that of the artisans of Gucci’s leather empire, putting the finishing touches on the fashion house’s best sellers. The Artisan Corner Tour began in San Francisco, hit Chicago and Beverly Hills, and arrives for its final stop in NYC today. “This is one of Gucci’s core values: a high respect for its heritage,” creative director Frida Giannini explained. “We wanted our clients to witness firsthand the expertise and skill performed by our artisans. It is thanks to these people that Gucci has built its almost 90-year history.” For anyone who needs a primer on why some bags cost more than others—a conversation I routinely have with my family back home in Missouri, and one that’s made news again this week, as the Times wonders what makes $550 khakis worth $550—this provides a great visual reference. The team assembles some of Gucci’s most iconic handbags—including the New Bamboo bag, Giannini’s current fave—right there in front of your eyes, showcasing the meticulous details that go into these products. The look evolves; the methods don’t. “The style of the products has certainly changed,” Giannini assured us, but the way in which they are made is exactly the same.”
Tantalizing rumor of the day: Gucci’s Frida Giannini is working on a couture collection. (It won’t show in Paris, but by private appointment to VIPs.) Setting age-old ateliers to work crafting ultra-luxe rocker and scuba chic? Yes, please. [WWD]
Giorgio Armani’s New York watering hole, Armani/Ristorante, has introduced a new, lower-priced bar menu. We still wouldn’t advise you to be late for your reservations, though, because as we all now know, Mr. Armani is a bit of a stickler about timing. [NY Mag]
Prince Charles convened a group of industry execs today—including representatives from Burberry, Aquascutum, Pringle of Scotland, and Topshop—to kick off his Wool Project, promoting the use of the fiber as an eco- and fashion initiative. The location: a cold barn in Cambridgeshire. We’re guessing the low temperatures drove the point home. [Vogue U.K.]
You can take the guy’s name, but you can’t keep him down. Alessandro Dell’Acqua—who had a much-publicized split with the company that produced his eponymous collection—is set to show the first collection of his new label, No. 21, in Milan this season. As for this moniker, it’s close to his heart, too: It’s for his birthday, December 21. [WWD]
Blog-to-book deals get most of the press, but here’s the rarer blog-to-back deal: A Continuous Lean‘s Michael Williams has worked with Steven Alan on two oxford shirts. [The Moment]
To appreciate just how far Frida Giannini has come with her latest men’s collection for Gucci—one that managed, on the whole, to be both dull and desirable—you only needed to look at her last one, with its brash, flash, synthetic undertow of extreme sports. There was no playing to the windsurfers and scuba guys this time. The first impression of Fall was a camel coat and a pair of sturdy brown loafers, a much more gentlemanly approach to dressing. There was a lot more camel to come, along with brown, ivory, gray, and navy. The restrained palette matched the mature mood of the clothes themselves. Everything looked so polite, so nice, that I could feel myself slipping into a haute bourgeois reverie, where a camel duffel worn over a gray silk turtleneck—or even a safari jacket in a napped blue-gray croc—could be passports to a timeless world of excellent, if quiet, taste. But it was Frida Giannini in charge of passport control, after all, so in the midst of my reverie, an ocelot-printed jacket showed up to épater le bourgeois. And the finale—particularly a jacket in lustrous midnight blue pony—brought the designer back to her rock star roots. Then, for a few fabulous disorienting moments, the place was plunged into pitch darkness, Nirvana’s “Come as You Are” blared to the point of distortion, and out popped Frida to take a bow. I’ll tell you, this girl knows how to make an exit.
See more pictures of the Gucci Fall 2010 show here.
Restraint was also the leitmotif at Alexander McQueen’s presentation. That may seem odd, given that the floors and walls of the venue were covered with a charnel house mosaic of skulls and bones, but the dominant item was a pretty conventional tailored suit. McQueen has said in the past that his collections are a barometer of his emotional state. Complexity and drama in the clothing usually mean he’s unhappy and escaping into his work. The more straightforward propositions come when he’s feeling in love with life. Which could mean McQueen is a most happy fella right now, because a lot of the design energy in this collection was directed toward the prints. And they were sensational, particularly when the designer used trompe l’oeil digital imagery of rough Irish tweeds or woven wools on his classic suiting. The skeleton mosaic looked almost mandala-like on a jacket, and other prints suggested burning feathers, or ink in water, or recently exhumed bones lying in dark loam. You could let your imagination run as hard and fast as you liked (or at least I could). And all this from a man’s suit. That’s the magic of McQueen.
See more pictures of the Alexander McQueen Fall 2010 show here.
Tom Ford’s debut movie, A Single Man, makes its U.S. premiere at the American Film Institute Festival tonight in Los Angeles. We’re sure it’ll be an insanely glam affair, like everything the designer-turned-filmmaker touches. We wish we could be there, and we don’t think we’re the only ones under Ford’s spell. Remember the killer white jersey column dress with hip cutout that Georgina Grenville originally wore back in 1996? We detected several riffs on the unforgettable look on the Spring runways. From left to right, there’s Emilio Pucci, Gucci (by Frida Giannini), Versace, and a 2004 update on the gown from Ford’s Gucci swan song. It’s hard to compete with the simplicity of the original, but our vote goes to the Pucci. Which do you prefer?
Yesterday in Milan, there was a kind of study in opposites. Bottega Veneta’s (ultrachic) casual walk in the park versus Gucci’s stomp in a vaguely futuristic cityscape.
First, Bottega Veneta. As the Lord of Low-Key Luxe, Tomas Maier has never gone ridiculously Ricci-esque in his footwear. But we take these gently crafty wedges and nearly horizontal platforms as further evidence that we might not be using words like “sick” and “killer” to talk about shoes all that much in seasons to come. (See Exhibit A: Marc Jacobs Spring 2010.) Our own Sarah Mower praised their “sophisticated take on country-peasant craftsmanship.” Hear, hear.
An espadrille might work for the Gucci girl when she’s in hippie mode, but she most certainly wasn’t yesterday. For Spring’s modern motorcycle mama, Frida Giannini did killer—no other word for it— platform sandals, either race-car sleek or with little sporty embellishments. And for the girl who considers herself a latter-day Barbarella: a strap-happy, knee-high sandal boot.