![]() You don’t know if you love it or hate it because you don’t really know what it is yet. “It’s always an uncomfortable moment, I think, when you find the thing. “When it comes to making art it’s about finding the thing you’ve always wanted to see that has never been made,” Styles speaks into a phone. The past living in the present: There is a global powerhouse of a brand built on Michele’s ability to keep magicking up that fantasia.In episode three of Ouverture of Something That Never Ended, the miniseries that Gus Van Sant and Alessandro Michele codirected to promote the spring 2021 Gucci collection, the pop star and cultural avatar Harry Styles makes a cameo wearing a pink Gucci tee tucked into eco denim washed shorts. This is a designer who rummages around in the past and ends up finding himself there. No, he said: “I have only recently come to this movie.” Weirdly, there was a passage where you couldn’t tell whether Michele had inserted his own footage, so similar to Gucci did the girl’s long, sequined, balloon-sleeved dress look. ![]() There was grainy footage of a girl having what looked like a terrible trip in a country house, all smeary eye makeup and psychotic gestures. ![]() At the beginning, he had shown an art-house movie, shot in 1970, by Italian experimental theater auteurs Leo de Berardinis and Perla Peragallo. And then, in a frozen pause, he had Jane Birkin-legend of French music, theater, and film-stand up and sing from her song “Baby Alone in Babylone,” the title of which seemed perfectly apt for the hint of morbidity Michele likes to summon, and which so successfully syncs with the Gen Z/millennial taste for getting scared. Michele thrived on riffing out his homages to Issey Miyake’s stiff fan pleating technique and Yves Saint Laurent’s tailoring. Study up on the history of Le Palace and you’ll discover that it was the haunt of Yves Saint Laurent, Karl Lagerfeld, Kenzo, Antonio Lopez, and all the great women muses of their circles, mixed in with rock stars and anyone from anywhere who looked good enough to the formidable Edwige on the door. Well, yes, that listing does labor the sybaritic sex club emphasis a bit too much. The models could have been coming to the nightclub.”Ĭue glitter and Lurex and fringe, ostrich-feather showgirl fans, a pair of jeans cut like chaps with chains as suspenders (worn beneath a perfectly straight tweed blazer), a bedazzled jockstrap worn outside white tailored trousers, and a couple of boys in underpants, one of them a pair of Y-fronts in GG-logo canvas. “Everything is a bit dusty here, a bit abandoned, but beautiful,” he said. ![]() People came here to meet lovers and friends. Tonight, Michele took us down to another layer of history: Le Palace in Paris, the hallowed ground of a late, great ’70s and early-’80s club in an old theater in Montmartre. An earlier show revealed his fascination with the Hollywood Forever Cemetery. His Resort show this summer was literally a walk among the dead of the Roman Empire in the Alyscamps necropolis seeing girls trailing long dresses past fire on that night produced some gulp-making moments. When you go to his shows, you really feel shadows being spirited up. You can take that as a very obvious face-value commercial fact: He’s the fashion resurrectionist who resuscitated Gucci with his stupendously successful vintage-retrieving design formula. Alessandro Michele makes the past live in the present.
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