There is ‘2001: A Space Odyssey’ but also ‘A Clockwork Orange’, ‘Eyes Wide Shut’, ‘Barry Lyndon’ and ‘Shining’ in ‘Exquisite’ in the new Gucci campaign, shot by Mert & Marcus, where the collection sketched by Alessandro Michele breaks into some frames of the famous films. “I have always been fascinated by the world of cinema – underlines Alessandro Michele, creative director of the maison -. From his ability to tell stories able to fathom the human adventure and its drifts. From his visionary ability to delve into reality and make it object of imaginative and dizzying interrogations “.
After all, continues the designer, “this gaze so attentive to the human is particularly close to me. When I think of a dress, I never imagine it separated from the history and life of the wearer. A dress, for me, is never just a piece of cloth, rather the tool through which we can tell who we decide to be, to put our desires and the ultimate meaning of our being into shape. For this reason I have always thought of my collections as films capable of giving back a cinematography of the present: a score of eclectic and dissonant stories, capable of sacralizing the human and its metamorphic capacity “.
With the ‘Exquisite’ campaign Michele wanted to pay homage to cinema, celebrating one of its brightest masters, Stanley Kubrick. “A philosopher filmmaker – continues the stylist – who has been able, better than others, to restore the magic of that inextricable intertwining through which cinema exudes and magnifies life itself. I have always admired Kubrick’s prodigious ability to try his hand at very different themes. Kubrick’s experimental charge surpasses all possible categorizations. Each film condenses, in fact, multiple souls in which the dystopian fits into the parody, the drama becomes human comedy, the horror takes on the appearance of a psycho-philosophical treatise, the sentiment of the true leads to the uncanny. Kubrick was, after all, a true sculptor of genres: the only ‘transgender’ director, ahead of his time. crossing borders and setting labels on fire has always been a source of profound inspiration for me “.
In the advertising campaign, Michele wanted to break down, mix, graft and reassemble the films of the American director. “Faithful to my creative practice – he highlights – I appropriated those films, re-semantizing them. I populated them with my clothes. Trying to build short-circuits in which the Adidas dress, which had already lost its status as a sports object to become a Victorian costume, she appears as a new character in the screenplay of ‘Barry Lyndon’. The dress, designed by Laura Whitcomb, with which Madonna plowed the New York scene in the 90s, fits into the gothic scenes of ‘The Shining’. dark and enigmatic ritual of ‘Eyes Wide Shut’ welcomes a venus in fur, embellished with sensual bourgeois pearls “.
And again, “the shoes of the 90s with a fetish flavor appear explosively in the frames of ‘A Clockwork Orange’. Finally, the most dreamy of the evening dresses woven with tulle ruffles breaks into the aseptic and dystopian space of the Discovery of ‘2001 A space odyssey “. In this situationist game, historical plans, references and experiences are mixed. The past explodes into the present. Everything can become something else. As in that famous scene from Kubrick’s masterpiece in which the bone is transformed. in a spaceship. As in life “.
In ‘Exquisite’, Michele’s attempt to mix the high with the low continues, “this time in a coherent and synergistic way with the grammar of the great director – he underlines -. In the selected sequences it is as if Nietzsche, Kant and Freud were talking with the street. The greatest questions about the meaning of life become pop images. Complex transfigurations on the level of meaning are transformed into immediate accesses on the level of experience. Everything becomes an iconic image, symbolically refined but capable of settling within a culture very popular. I chose Kubrick for this too. What he produced is part of the collective imagination. His being a diviner of vision made his works as recognizable as the Sistine Chapel, the Virgin of the Rocks or the Simpsons. images, relaunching them within an unprecedented semantic framework, thus acquires the same meaning that a hacking of the Mona Lisa can have. plus the inspiration and empathic involvement that only the machine of cinematographic fiction can produce “.
“This involvement – concludes the designer – produces a particularly significant change of status for the work I do: the clothes come back to come closer to bare life. They are transformed into imaginative prostheses functional to the telling of a story. A story that disrupts, enchants, tortures It lights up. Because it is the story of that human who dwells in each of us. Stanley Kubrick knew something about it. Milena Canonero, a dear friend, knows something about it. She accepted my invitation to retrace some of the scenes that have consecrated her as undisputed star of the history of cinematographic costume. His presence in this project is for me a moving and very precious gift “.