Gucci Women’s Spring Summer 2016 Fashion Show

Gucci Women’s Spring Summer 2016 Fashion Show

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The Women’s Spring/Summer 2016 collection is the product of a Situationist dérive: the playful practice of crossing and exploring urban spaces. The dérive adopts an unconventional strategy of geographical displacement punctuated by random and indeterminate movements.

Spring Summer 2016

Paths take shape according to the stimuli of the city. These paths push toward the unknown and contemplate the possibility of getting lost  as an opportunity for learning and discovery. Nevertheless, the dérive does not exclusively celebrate losing oneself.

Spring Summer 2016

It is configured above all as a clue-based technique for understanding the contemporary: an exploratory process of collecting and interpreting signs, suggestions, vital traces, emotional tonalities, and symbolic worlds. 

Spring Summer 2016

These hints gather on the collection’s clothes to form eclectic palimpsests rich with heterogeneous references. The clothes are transformed into psycho-geographic maps capable of recording the urban unconscious: maps that embroider the world within a discourse of affectionate intimacy.

Spring Summer 2016

The reference is to the Carte de Tendre, published in 1654 by Madeleine de Scudéry: a map of tenderness, a moving topography of desire. In fact each object in the collection is offered up as a small atlas of emotions, a treasure chest of aesthetic references, a sentimental cartography in which patterns, extraordinary craftsmanship, and rarefied materials are interwoven.

Spring Summer 2016

 The exploration of the world results in a tender mapping in which the aesthetic dimension is deeply imbued with the political. Indeed De Scudéry’s map celebrated a rebellion against conventions: a revolt based on the recognition of women’s inner world.

Spring Summer 2016

“In this respect, the power of her vision can be inspiring even today, not only because her discourse contains a political affirmation of desire, but because it permits us to reposition sentiments on our own map, and therefore to alter the cartographies we use to navigate our world.” (G. Bruno)

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