Browse all

The meaning of Gucci's golden ear

A homage to surrealist art

The meaning of Gucci's golden ear  A homage to surrealist art

 “I always say that I love things that are not clear, things that are in between.” 

Alessandro Michele confessed some time in an interview, confirming what had been clear for some time: the aesthetics of the Roman designer is a beautiful hybrid made of many worlds. Pop, rock, modern and classical art, theater, cinema, fashion, philosophy, literature, ... every nuance that reflects his idea of style and beauty finds its place in the latest Gucci collections. And no matter that someone criticizes his mix'n match of elements, often juxtaposed in a dystonic way, calling him too chaotic or excessive, he goes straight on his way. Keep playing, building, experimenting and tracing all the inspirations hidden behind his creations is an exciting enigma that teaches us something every time. The last fashion show presented yesterday during the MFW FW19 is no exception.

This time the declared starting point is Hannah Arendt and her idea that, as Michele explains, paraphrasing the philosopher:

"We are people when we choose the mask through which we appear on the stage of the world."

And he continues explaining:

"The mask, in fact, allows us to show ourselves how we like and to interpret our role as an actor as we think better. It is the possibility of choosing how to exercise our freedom."

The transposition in fashion of this thought was an alternation in catwalk models with the face covered with masks, simple or with spikes with a fetish flavor, often coupled with chocker in the same style or, in contrast with pseudo-medieval gorgiere; the head or part of the face set in metal headdresses reminiscent of the ancient Greek and Roman helmets (references to the classical world are many) and maxi architectural jewels in balance between antiquity and the future.

In particular, to capture the attention was a jewel-sculpture that reproduces the shape of an ear, proposed by Gucci both in the single version and with a golden extension that covers the eye.

The extravagant and beautiful accessory is a tribute to Fashion Fiction #1, the work created in 24 carat gold by Eduardo Costa in 1966 and photographed on Marisa Berenson by Richard Avedon for Vogue USA in 1968. The great Argentine artist, central figure of the artistic avant-garde of the 60s, in the middle of that decade, he designed a series of works that he called Fashion Fiction, with which he revised the notion of body accessory in a completely innovative way. In addition to the item we are talking about, Costa created other pieces with a surrealist mood like tree bracelets with spiral rings, spider bracelets, butterfly rings and a series of prosthetics for various parts of the body in gold poised between eroticism and fetishism.

We are sure that the version of Alessandro Michele will be very copious and soon we will see different models appear in the low cost chain stores. Another detail that will be imitated and worth mentioning is the tears effect created by the models by the make-up artist Thomas de Kluyver with a special solidified gel. Alessandro Michele and Gucci once again confirm trend setters of great culture and aesthetic sense.