Ouverture Collection by Gucci
For its new collection “Overture of Something That Never Ended Collection”, Gucci opts for 7 short episodes showcased online on guccifest.com from November 16 to 22, born from the collaboration between creative director Alessandro Michele and film director Gus Van Sant.
In each short episode, Silvia Calderoni takes center stage. She perfectly embodies the ideal of gender fluid person, thanks to the sharp features of the face and the extremely slender body that is neither predictable not stereotypical, and therefore it cannot be encaged into the typical male or female appearances. This aspect is also accentuated in the “nightly walk” episode where Silvia wears a masculine-cut suit reflecting the gender contamination in the dressing codes.
Silvia’s daily actions such as going to the post office, having a coffee at the bar or visiting a vintage shop are interspersed with reflections on social issues dear to the brand such as gender identity but also environmental responsibility.
While Silvia reflects and writes her thoughts on a sheet of paper, the listener participates passively in the television intervention of Paul B. Preciado. He talks about how the anatomical fiction of sex, used to culturally distinguish man and woman, makes that different labels such as hermaphrodites or intersex are assigned to anyone who does not conform to this distinction. A distinction that has been exploited as biological so as to oblige binary identification with one category or the other.
Following Preciado’s speech, he highlights how the concept of race played a primary role in legitimizing the action of colonialism that is again a further system of social control and division. It is no coincidence that Gucci hires a culturally mixed cast, in order to open up to more possibilities of identification. It is interesting to note that also on a linguistic level a coexistence of differences is created, where a subject speaks in Italian and his interlocutor replies in English or Chinese. It is clearly a celebration of multiculturalism in a full Roman setting.
When Silvia moves into a bar, she talks to a friend about the image of the daisy, which recreates in our minds the cyclical nature of the love-non-love game that all of us have done at least once. This almost melancholy and bucolic image is transposed into the current context and the act of picking up this flower is discouraged as unequivocal environmental damage. Hence Gucci’s commitment to reselling pieces on TheRealReal, and the inclusion of the Vintage Shop as an episode, which not only creates the setting for the brand’s style and its link to the past, but raises awareness on the theme of re- and upcycling.
The logic that Gucci wants to convey is a revolution that has love as its mission, the only tool against any form of repression, where each of us must be a bit of a “monster” who says no to the patriarchal and colonial logics.
Concerning the episodes it’s interesting to see that they do not develop as a linear story, but they are more like sketches of daily life, meaning that the ending is open and circular. It is a series that has neither the power nor the will to convey a predominant point of view, but leaves room for free interpretation. Often the phrase of the song by Martin Gore appears
“I just wanted to say that I could never forget the way you told me everything by saying nothing”
It represents the series itself that speaks through the unspoken, and it goes out of any structure.F
No related articles found.