On the occasion of its 75th anniversary, the Balmain house orchestrated an fashion presentation, mixing archival pieces and a new vision carried by Olivier Rousteing.
The Balmain Anniversary Fashion Show
It is a barge which served as a catwalk for the Haute Couture collection of the house of Balmain. A very special collection since it signed the 75th anniversary of the Balmain style, and the 10 years of Olivier Rousteing at its creation!
On the barge which crisscrossed the Seine, a mirrored podium infinitely reflected frankly iconic silhouettes. Those created by Pierre Balmain, first – virtuoso pieces from the archives! These fantastic and opulent dresses which, in the aftermath of the Second World War, made the heads of elegant women around the world turn so much the optimism of the Jolie Madame look put an end to the dark years.
Speaking of black precisely, it is in particular to Pierre Balmain that we owe the reintroduction of this color on the side of elegance and sensuality. He had indeed made the black velvet sheath the ideal for elegant Parisians! Starting with Juliette Greco who adopts it in an even more stripped down version.
The items from the archives of the Balmain 2020 Haute Couture collection show the full extent of the virtuosity of the house’s expertise. The silhouette of Katharine Hepburn in The Millionairess – was indeed thought by the founder especially for the role. So, she rubbed shoulders with the creations of her successors.
Oscar de La Renta, Erik Mortensen and the iconic Balmain-style creations by Olivier Rousteing. We thus found all the figures of the Parisian woman – chic in bustiers with waisted waists and grandiloquent skirts.
Femme fatale in the silhouettes of Olivier Rousteing, recognizable by her mini dresses in woven raffia. A silhouette that again dusted the Jolie Madame – between marked shoulders and a sublime and iconic work of ornamentation in the Balmain style. A collection that freezes Balmain between well-felt grace and opulence.
A perfume paved the way for Pierre Balmain’s couture – a scent called Jolie Madame, which later gave its name to the 1952 haute couture collection.
1945. Paris was just emerging from the Second World War when Pierre Balmain founded his studio at 44 rue François 1st in Paris. Formerly of Lucien Lelong and Edward Molyneux, Balmain soon established himself as one of the masters of sewing. On October 12 of that same year, the designer presented his very first collection. The critics are unanimous: the sober but graphic use of fabrics mixing green, brown, red and lavender gives off a most attractive refinement. In 1949, Balmain published its very first perfume – called Jolie Madame, the designer captured “the scent of adventure for evenings of passion and enchantment.”
In reality, the Jolie Madame scent distilled the spooky spirit and the atmosphere of Parisian nights after the war. Its composition, the fragrance borrows directly from the image of female sensuality. It is the family of floral chypres which is associated with clove with orange blossom with jasmine or even patchouli. Intense notes for a fragrance synonymous with elegance and sophistication!
The success is such, the perfume is so right that in anticipation of Autumn/Winter 1952, Pierre Balmain names his collection ‘Jolie Madame’. From then on, the Balmain style became essential and, with it, embroidery, the shoulder pads and the waisted waist became the visual codes of a new woman. Many celebrities then favored the ‘Jolie Madame’ silhouettes. Little dresses with a twist and short veils for cocktails, the Parisian style was born at the same time as the golden age of couture made Paris shine!
This return to opulence, to the charm and elegance of noble materials because rare, precious because highly worked, is quickly defined as being “the new French style” by the mythical Gertrude Stein, in Vogue magazine. Just look at the ‘Jolie Madame’ ball gown from 1954. Cut from bright blue satin; the creamy opulence. On the couture side, the Balmain tailors appear straight, the houndstooth woven that has become emblematic. This iconic collection is full of historic pieces – the large ball gowns, coolie jackets, and ermine evening skirts are all pieces that enter the most legendary locker rooms. Soon, Balmain’s Pretty Madame developed like an active and somewhat insolent woman.
Between 1993 and July 2002, Oscar de la Renta took over the artistic direction of the house and, with the talent we all know, remained faithful to the essence of Pierre Balmain’s Jolie Madame couture. But at the dawn of the 2000s, the label entered a most desired modernity: with Christophe Decarnin then Olivier Rousteing, the Jolie Madame by Balmain became as sexy a woman as possible, sporting elegant and sumptuous pieces, cut with cord in luxurious and luxuriously embroidered materials.
And when we question the parentage between Olivier Rousteing and this emblematic collection of Pierre Balmain, often accusing the talent of uncontrolled opulence, the artistic director has something to say: “My Balmain wife is however a very French woman. The French style is not only that of Saint-Germain-des-Prés. My version of France is the flamboyance of Versailles, the magic of the City of Lights. Poiret, Balmain, Dior, Balenciaga. They all worked on opulence. The Eiffel Tower is the opposite of minimalism! Likewise, the Jolie Madame style is the opposite of gloom.
Presented during the Pre-Fall 2020 fashion show by Dior, the most anticipated speakers of the season are about to be marketed. Following the principle of the lottery.
Air Jordan 1 OG Dior
Imagined by Kim Jones, current artistic director of Dior Homme, the Air Jordan 1 OG Dior distils everything from the new aesthetic of the house of Monsieur. Combining streetwear and couture know-how, the Air Jordan 1 OG Dior is a collection of the most desired signs of the era.
It must be said that when it was released in the 80s, the Air Jordan has largely reshuffled the cards of cool and style. Inspired by the natural and stunning game of Michael Jordan .
In a shade combining ecru white with iconic Montaigne gray from the house of Christian Dior, the Air Jordan 1 OG Dior also and above all adopted the oblique canvas of the house on the iconic Nike Swoosh . Obviously stamped with the Wings, Air Jordan logo!
“These two brands are emblematic of absolute excellence, each in their own field. Bringing them together means offering something exciting and truly new, ”says Kim Jones.
Thus doubly adorned with the frankly cool aura of Air Jordan, and the sublime of Dior couture, these sneakers naturally panic passions since their first introduction during the event parade held in Miami in 2019.
To acquire them, the house of Dior relied on an innovative process – the establishment of an exclusive site where it is necessary to register beforehand to hope to access the sale. A sort of lottery to join here .
Pending the announcement of Dior which will take place, it on July 1, the capsule collection will arrive in stores on July 1. A collection staged in all its beauty by photographer Brett Llyod!
The history of a sneaker that revolutionized the world and fashion – from the first collaboration between Michael Jordan and Nike, to the new Air Jordan 1 OG Dior.
Nike And Michael Jordan
When Nike signed the sponsorship contract that bonded the very young Michael Jordan to the equipment supplier, he is far from suspecting the aesthetic revolution that will ensue.
The Sponsorship Agreement Between Nike And Michael Jordan
1980s. Nike spotted young Michael Jordan, who distinguished himself by his excellent performance in university competitions. Early and prodigy, Michael Jordan also interested other equipment manufacturers, like Adidas, direct competitor of Nike.
Under the colors of his university in North Carolina, Michael Jordan vibrates the parquet floor and, the young man knew it: he will soon make his debut in the NBA. After a final university season, Michael Jordan is about to sign with Adidas to enter the arena.
But now, Nike is also on the spot. In 1984, after a number of discussions, which are said to be epic, with Michael Jordan’s agent, David Falk, Nike managed to convince the young hope.
His agent ended up with an unprecedented contract for the time. With the same advantages as those granted to tennis players, Nike had just signed Michael Jordan for 2.5 million dollars over 5 years, the creation of its own clothing line, and the payment of royalties for each item sold.
Michael Jordan, the new 23 of the Chicago Bulls, then entered the NBA arena, with an unprecedented sponsorship contract with Nike. “His airness” as we call it, would quickly mark the history of the NBA. And that of fashion.
Air Jordan, Wings And Jumpman Logos
So when Peter Moore designed the Air Jordan 1, he signed the basketball along with a logo that would become iconic – The Wings logo.
Peter Moor told the story of the Wings logo: “Nike vice president Rob Robasser and I just returned from a meeting with Michael Jordan’s agent David Falk. We decided that we were going to create a brand with the kid. We also decided, at the suggestion of David Falk, to call it Air Jordan.
On the return flight, I started to think about what its logo would be. I walk on the plane and I see this little child and he has this set of captain’s wings on his shirt. They are made of plastic. The stewardess had just given them to her. So I said, “Can I have a pair of wings” started drawing the wings. I put a basketball in the middle. It was all done on a napkin while Rob and I went home. It became the logo. ”
But in 1988, from the Air Jordan III series, the Wings were replaced by the legendary Jumpman. Deemed impersonal, the Wings are replaced by the silhouette representing Michael Jordan in full jump.
In fact, the Jumpman was inspired by a photoshoot made for Life magazine a few years before, for the 1984 Olympic Games. Michael Jordan had not yet signed with Nike and, on his feet, he wore New Balance.
The staging of this image is magnificent. Michael Jordan performed a ballet jump known as the big throw – pretending to do a dunk Jordan-style!
If Tinker Hatfield was responsible for this logo, Peter Moore already had it in mind. Peter Moore already wanted to take back this silhouette but Nike was not comfortable, wishing to avoid a possible violation of copyright.
Moreover, in 2015, the author of the photo, Jacobus Willem Rentmeester, filed a complaint against Nike for having, he says, copy this photo then published in Life Magazine. But the story will go no further.
The Jumpman has become a legend!
The Air Jordan, Iconic Sneakers
Air Jordan 1
Peter Moore is also responsible for the design of the very first Air Jordan. The Air Jordan 1. It comes in a rising line, helped by a flexible leather upper. Presented in three colors, white on white, white and red and red and black, it is this third shade that will go down in history.
When Michael Jordan entered the Air Jordan 1 field for the first time in March 1985, the NBA was everything but delighted. It must be said that there are aesthetic rules in the NBA, including the use of 51% white sneakers (”The 51 percent rule”). However, those of Michael Jordan are black and red, black and red.
If they earn their nickname ‘Bred’, contraction of ”black” and ”red”, it is only to Nike marketing that they owe it. Until the 2000s and the withdrawal of this rule, Nike refused to pay the fine of 5000 dollars imposed on Michael Jordan, for each match played with these Air Jordan 1 Bred.
At the same time, Nike made this ban the narrative of an advertising spot. The Air Jordan 1 is banned, but only on NBA grounds, says the advertising campaign. On the sidewalks of cities around the world, the Air Jordan 1 arrives as the sign of recognition of a new generation.
Wrapped in a little taste of forbidden, the Air Jordan 1s finish entering the legend with a Michael Jordan at the height of his art! In 1986, in the second game of the Playoffs’ first round against the Boston Celtics, Michael Jordan scored 63 points.
A prodigy that even makes Larry Bird, yet himself basketball champion, say: “I think it was God disguised as Michael Jordan.”
The Air Jordan 1 thrilled the crowds, but it is the so-called Chicago declination – identical to that worn by Michael Jordan on this day of 1986 – which became even more iconic!
Air Jordan, The Most Iconic Basket In The World
Since 1986, Air Jordan has sold more than 100 million copies worldwide. Cultural, sporting and aesthetic phenomenon, this basketball is undoubtedly the most iconic in the world.
And if the Air Jordan follow each other, none is the same.
The Air Jordan III is the first to present a new logo – and a new design! Because it is with the Air Jordan III that the Jumpman supplants the Wings logo. On the design side, the sneaker, now imagined by Tinker Hatfield, has a slit revealing the air cushion inserted at the heel to improve cushioning.
An aesthetic incursion reminiscent of that of the Air Max – rightly so! Because Tinker Hatfield is none other than the designer behind the Air Max, and its visible air cushion. Inspired by the architecture of the Center Pompidou aimed at showing what should not be, Tinker Hatfield set the standards for a new approach for the Air Jordan.
Better, the history of Air Jordan III which convinced Jordan to renew the sponsorship contract that he had with Nike. Michael Jordan, thrilled by the look of the Air Jordan III, came back on his desire to leave the equipment supplier.
Thus, with each of the drops, the Air Jordan frightens the Jumpman aficionados. Cool, detached but completely in tune with the times, the Air Jordan sets new heights for each model.
Latest, the wildly inspired collaboration between Kim Jones, artistic director of Dior Homme, and Air Jordan.
“Christian Dior himself collaborated with the best American brands of his time. I love mixing different worlds, different ideas – Dior and Jordan are two emblems of absolute excellence in their fields. Bringing them together with this special collaboration is to offer something exciting and truly new, ”says Kim Jones.
An oblique canvas designed in 1967, has become one of the most sought-after this year. The Dior oblique canvas is a luxury and pop icon.
The Oblique Canvas and Marc Bohan
The designer at the head of the creation of the house of Dior for three decades was certainly a little less popular than Yves Saint Laurent or John Galliano, but the fact remains behind one of the most iconic paintings in the galaxy.
It was he who, in 1967, drew from the archives of the Dior house this canvas event. The oblique canvas takes its name from the collection of the same name, designed by Christian Dior for the Fall/Winter 1950-1951. But it only appeared in stores in 1969, during the Spring/Summer collection.
It was he who, in 1967, drew from the archives of the Dior house this canvas event. The oblique canvas takes its name from the collection of the same name, designed by Christian Dior for the Fall/Winter 1950-1951. But it only appeared in stores in 1969, during the Spring/Summer collection.
The Oblique Canvas: The Popular Icon
If it remained a few years aside in the drawers of the house, it is John Galliano who would have definitively introduced it into the world of pop culture. In reversing the scale of the values of the house, he printed everything on the Oblique canvas, on pieces in accordance with the time.
In the 2000s, it was everywhere – on suggestive advertisements, on the icon – the Saddle Bag, MTV clipped it on the legs of starlets of the time. The Oblique canvas reached the height of its notoriety on this advertisement Spring/Summer 2000 with Gisèle Bundchen.
Following, Maria Grazia Chuiri and Kim Jones were the ones who updated this emblematic print. The artistic director of the house did not hesitate to print on other icons – the Saddle Bag, but also the new Book Tote.
Kim Jones made it a key element of his streetwear couture – affixed by touch on sneakers or all-over on bags and suits, the Oblique canvas is again in the firmament of desire.
Symbol of craftsmanship constantly in keeping up with the times, the Oblique Dior canvas goes hand in hand with an obsession with Dior codes. Codes that, like Montaigne gray, caning and leopard, still have a lot to contribute to contemporary fashion.
What does Nike check mark mean? This is the story of a logo that has become the most famous in the world.
The History of the Nike Logo
The history of the most famous logo in the world was written in 1971. Phil Knight, the creator of Blue Ribbon Sport, the future distributor of the Nike brand, sought to define a visual identity for his company. Some time earlier, he had met a graphic design student at a university in the city of Portland in the United States. Her name was Carolyn Davidson, and she never imagined that she was about to deliver one of the most iconic logos in history.
In the meantime, Phil Knight approached her with a project for a new line of sports shoes. The entrepreneur was looking for a graphic designer who was creative enough to develop a simple, legible logo. Phil Knight, then an assistant master of accounting at the university, would have called out to her: “Excuse me, is it really you that cannot afford to sign up for the oil painting course?” Carolyn Davidson agreed to work for him for the modest sum of $ 2/hour.
A little less than 20 hours of work was necessary for Davidson to imagine a logo like a comma drawn upside down and then put horizontally. Or $35.
The Big Break
The effect was there: effective, dynamic, memorable. Yet Phil Knight wants to see more. Carolyn Davidson then submitted a dozen variations of logos to him. None really get attention. But now, the marketing deadline was approaching. Phil Knight had run out of time, and that’s the reversed check he chose – the Swoosh was born.
Philip Knight was not convinced: “I don’t like it, but I will end up loving it. Davidson, she was in charge of the graphic aspect of Nike, until the company became too large and they hired a communication agency.
It was a total success – surprisingly but well completed. In 1983, Nike presented Carolyn with a gold ring representing the logo she had created at the time. A strong symbolic gesture that also came with a bundle of Nike actions. The amount was never disclosed.
The logo, meanwhile, has evolved a lot. It was in 1995 that they adopted the definitive aspect that we know of today: a very simple comma, removed the name “Nike”. The sign that the decimal point is enough to signify the DNA of one of the most acclaimed and sought-after brands on the planet.
Christian Dior was very superstitious, to the point of establishing in his couture and his company a set of talismans, both guides and good luck charms. There is lily of the valley, clover, star, bee and the number 8.
The Star And The 8 On The Road To Destiny Dior
Christian Dior is known to have been very superstitious, he especially knew how to listen to the signs that surrounded him. In 1919, at only 14 years old, Christian Dior also consulted his first clairvoyant, during a fair in Granville. “You will find yourself without money, but women will benefit you and it is through them that you will succeed. You will get big profits and you will have to make many crossings” she predicted.
In 1946, Christian Dior was about to meet Marcel Boussac. The King of cotton, as we then nicknamed him, wanted to suggest to Dior that he take over the artistic direction of the fashion house Philippe et Gaston. Christian Dior hesitated. The urge to get started was becoming more and more urgent. Three times the meeting was invoked – it is a childhood friend, Georges Vigouroux, crossed three times in a row in the streets of Paris, who knows Marcel Boussac, who tried to convince Dior to change his future.
This evening of April 18, 1946, the day before this important meeting, the legend writes: “while going up Rue du Faubourg-Saint-Honoré, Christian Dior hit an object on the ground and failed to fall, as if the object itself was trying to get his attention. He turns around, approaches, and finds that he has just been struck by a star, just outside the British Embassy. His childhood in Granville, in Normandy, awakened in him.
The next day, Christian Dior announced to Marcel Boussac that he will not take over the Philippe and Gaston house, but that he is ready to open a company in his name “where everything would be new from the state of mind and the staff down to the furniture and the room.” After endless discussions with the investor, Dior wins his dream, the Dior house will be born.
It takes place in the heart of the 8th arrondissement of Paris. At 30 Avenue Montaigne, “behind the small hotel at the start, a new eight-story building – eight workshops – with another building, also eight-story, doubled” notes Christian Dior in his memoirs. The 8 is indeed another very suggestive sign.
Chanel had the number 5, and Dior had the 8. It is surely the sensuality of this figure which, marking the infinite once overturned, pleased him so much. Finally, he made it a line – an aesthetic itself. His iconic silhouette which he describes as “clean and shapely, underlined throat, hollowed waist, accentuated hips” This is line 8.
It is therefore no coincidence to find today this figure that will amaze the eye and technology in the Dior Grand VIII, this exceptional watch marked by Dior’s expertise and grammar.
Lily of the Valley, The Clover And The Dior Bee, The Enchanted Garden
Dior was actually carrying a string of lucky charms. He never left without his bunch of charms – a sprig of dried lily of the valley, in an ornate reliquary, a four-leaf clover, the star found on Rue Saint-Honoré, two hearts, a piece of wood and another in gold.
From his favorite flower, lily of the valley, Dior would make it an essential part of his couture. First there is this dried strand which he sews at the hem of each of his creations. Then there is the lily of the valley which he wears in a buttonhole and the one he offers, every May 1st, to his “little hands” and his biggest customers.
Finally, there is lily of the valley in couture – lily of the valley which inspires a whole collection in Spring 1954. The Lily of the Valley Dress enters the annals of fashion history. A dress “at the same time young, flexible and simple” he says; a dress whose pockets of lily of the valley remind her of the “volume of the hat, volume of the bust, volume of the skirt. He loves thrush so much that he arranged for his florist to have it all year round at his disposal.
Dior’s enchanted garden is also the four-leaf clover. This symbol of luck, the designer gave him a considerable place in the choices of his destiny. A little less present in couture, it is the jeweler Victoire de Castellanne who sublimates its heritage in crazy and grandiloquent jewelry. Like a talisman, the clover is adorned here with a green stone, the Amazonite – a symbol of trust.
Finally, if the bee was so dear to Christian Dior, it was because it was, in his eyes, the quickest insect to symbolize the strength and vigor of its fashion house. “A small hive full to bursting, that is what my house was when I presented my first collection” notes Christian Dior in his memoirs. Its seamstresses, Dior nicknamed them “the bees” – conscientious and busy, they are capable of achieving exploits. Sometimes more than 400 or 500 hours of work to make a single dress.
Recently, it was for a sublime crazy coat imagined by Kim Jones that they once again demonstrated the full extent of their genius – 900 hours of embroidery to complete such a couture miracle. The quintessence of Dior know-how is in the hands of its ‘bees’.
Considered at the forefront of fashion, Miuccia Prada turned its style upside down at the turn of the 90s.
Miuccia Prada And The Pretty Ugly
Many people consider Miuccia Prada as the pope of contemporary aesthetics. An aesthetic focused on making the ugly beautiful, a fashion that sent the concept of good tastes waltzing around a simple idea. The Pretty Ugly.
Hijacking The Styles Of Haute Bourgeoisie
When Miuccia Prada inherited the company that bears her name in 1978, the woman she had since become attached to two things. The first, she said, “I want to encourage women to fight. The second is to hijack the codes of the upper bourgeoisie.”
Because Miuccia Prada refused to see the woman as a body to be dressed to appear, the director of the house adopted her own fashion. The Prada woman has fun and diverts rather than conforms. And as for the codes of the upper bourgeoisie, it sends them waltzing with as much elegance as freedom of tone.
And Miuccia Prada has made the style of the upper bourgeoisie its favorite playground. Each Prada show is an opportunity to set up a sort of misleading mirror on codes and values that has constructed beauty in absolute terms. But the beauty that holds perfection can be a prison for the creative and inventive spirit. Worse, good taste also locks women into a role.
This is what Prada sets out to divert when it seizes materials or pieces emblematic of this social environment. Like feathers or guipure lace or chiffon, Prada never hesitates to clash elements that were previously clearly dissociated.
“Fashion has never opened up before. I initiated this, which earned me a lot of criticism. But the success of Prada comes from there.”
Geek Chic And Pretty Ugly
From 1996, Prada fashion carried an iconic aesthetic. For the spring and autumn 1996 collections, Miuccia Prada sought to write the irony around delicious fabrics but associated them with the extreme.
A snub to the rules of fashion, Prada mixed – everything, colors, prints, cut and time, in a freedom of tone that fascinated and captured a certain vision of fashion. Prada’s ugly chic was born!
Like this jacket-pants set dipped in a tapestry pattern. Already, during the Spring / Summer 1996 collection, Miuccia Prada was doing a great fashion good by scrolling through a number of prints deemed ‘ugly’ today synonymous with avant-garde.
Mix of tapestry prints, garish colors like muted avocado greens and earthy browns,Miuccia Prada challenged the conventions and ideals of good taste, giving birth to one of the most innovative concepts in contemporary fashion: the concept of Jolie Laide. The ugly becomes beautiful and the chic is therefore characterized by a touch of bad taste.
Prada-style geek chic is also a story of loose looks!
A concept that made School – Marc Jacobs or Demna Gvasalia at Balenciaga owe him a lot.
True to its label, Miuccia Prada scrolls through silhouettes as surprising as they are relevant throughout the seasons. Inaugurating, in each of them, a fashionable gesture which never fails to have repercussions in other houses.
Tailors punctuated with feathers, geek details, the athleisure comfort of the Linea Rossa and a bit of old-fashioned preciousness. Many Prada gimmicks have become iconic.
Prada’s Iconic Prints And Tints
Prada gimmicks are therefore based on a palette of prints and colors.
The prints mix and often assert themselves in Prada fashion. Unexpected mixes of tapestry prints and precious materials, stitching cuts and pop inspirations, the fashion of Miuccia Prada clashes and influences.
Tapa prints, Prada has made them its iconic, and the graphic image of its freedom. A profusion of obsolete or mundane references that brings it closer to a Pop Art approach. But Prada does well in fashion and it is to her that we owe a number of silhouettes unique to our time.
Tapestry prints rub shoulders with wools stitched with rhinestones, evening coats punctuated with fur and feathers. All wrapped in garish prints, and hues that scream even more!
The most iconic is undoubtedly the acid green, also known as Prada green.
In the 1980s, the Italian house Prada became a global group. Establishing itself in the four corners of the world, the house has seen its network of shops grow rapidly. London, Madrid, Tokyo, Paris…
The first “green store” opened in Milan, on Via della Spiga. Designed by architect Roberto Baciocchi. The central idea of this soon globalized project is simple: an immediately recognizable green tint. A trademark, again in opposition to gray and white, which was de rigueur at the time, Prada stores were the first to be decorated with “Prada Green”. An acid green, almost atomic, which stung pretty ugly the very refined aesthetics of the stores!
Very quickly, the favorite color of Prada became a house code. A code that also matches Prada’s silhouettes, bags and other icons. And in particular the other key house code, Poccono nylon.
The Italian house Fratelli Rossetti showcased its iconic craftsmanship in Brera moccasins that have become the essential in the uniform of elegant people!
Brera Moccasins by Fratelli Rossetti from Spring/Summer 2020
Sought after for their Made In Italy quality, the Fratelli Rossetti moccasins have earned the reputation of shoes of excellence. So, for Spring/Summer 2020, the company is working its icons around the craft of which it has made itself queen – the technique of leather weaving.
Ideal for the season, the Fratelli Rossetti moccasin is woven in leather around a line inspired by the world of design. The Vienna Straw Effect, also known as Vienna Straw weaving, distills a discreet elegance around a delicate and alluring shoe.
An exquisite Brera moccasin because it is handcrafted and light – essential for the uniform of elegant Spring/Summer 2020! Therefore, it is great for both men and women!
Gucci is committed to circular fashion with its Gucci Circular Lines collection – an inspired and committed initiative, staged by Harmony Korine with Jane Fonda, Lil Nas X, King Princess, Miyavi and David de Rothschild!
Off The Grid, The First Gucci Circular Lines Collection
Alessandro Michele captured like few designers the needs of his time. And this time, it was towards circular production and inspired but responsible fashion that he turned all his creativity to the Gucci house.
Off The Grid, The Collection
Alessandro Michele looked at the first Gucci collection produced in circular production – and the result places the house in echo with the times. Aimed at those who wear what they think is right, the Off Grid Gucci collection is exclusively made from recycled, organic, natural and sustainable materials – in particular ECONYL®.
This nylon, regenerated from destructive plastic waste, transforms and becomes material for luggage, accessories, shoes and ready-to-wear. These plastics harmful to marine life and likely to end up in landfills thus transmute to become genderless icons of the Gucci style .
Highly stylized and always so refined, the pieces of the Off Grid collection once again demonstrate the potential of up-cycling.
“The collection is the result of teamwork; everyone brought something to it. And in the campaign too, there is this idea of dialogue between people to build something new. I imagined that we could build a treehouse in a city center, all together, like children playing in the park. Because we all need to build this house or to discover that our planet exists, even where it seems not to be there, or it is far away ”explains Alessandro Michele.
Off The Grid In Campaign With Jane Fonda
And to embody these values, Gucci relied on the presence of Jane Fonda, Lil Nas X, King Princess, Miyavi and David de Rothschild!
In front of the camera of photographer and director Harmony Korine, these activists, artists, actors or actresses camp a group of city dwellers who have made a rustic cabin, built in a tree in the middle of a gigantic modern metropolis of concrete and glass, their safe haven.
A refuge from destructive conformism, the cabin, a small wooden structure, contrasts sharply with the smooth, vertical skyscrapers that overshadow it. Fantastic images where its vegetation and poorly assembled boards echo the craftsmanship of Gucci. High facing the concrete.
The experience of the sublime thus comes from the respect for the knowledge that Alessandro Michele for Gucci intends to lead towards new possibilities.
A campaign in harmony with the Off Grid collection – an ode to ingenuity and the ability of Gucci fashion to generate happiness and curiosity. Without hurting the planet.