Allegoric presentations, strong ideas, very intriguing collections. These are the things that us fashion folk love. We do. Games however aren’t really our forte. Karl Lagerfeld can have a Chanel ‘Chance’ advert be in a glamourous bowling alley, Tommy Hilfiger can transform the catwalk into an American football field and Sandra Choi can host Jimmy Choo’s menswear collection at an indoor skate park. There is a much simpler game which the industry does play; musical chairs. Musical chairs in the fashion industry is commonplace. For Fall 2015 Alessandro Michele debuted his first Gucci collection, Guillaume Henry delivered his first collection at Nina Ricci - replacing Peter Copping who christened the rebirth of the Oscar de la Renta label with his Parisian flair. Alexis Martial and Adrien Caillaudaud replaced Guillaume Henry at Carven. Elsewhere, in Milan, Peter Dundas switched from one storied house: Pucci - to another: Roberto Cavalli. Taking his place; Massimo Giorgetti.
Massimo Giorgetti started his own brand, MSGM, in 2008 to critical acclaim. Now, 7 years later the brand is worth $40 million and has the collections are distributed in over 280 stores worldwide. In March 2015 he was appointed by LVMH as creative director of the celebrated Italian brand. MSGM is a brand which I consider quirky, giving us a granny-chic revamp for Fall 2015. The brand is renowned for its easy, breezy and cool designs. Pucci, under Dundas, was synonymous with sex. There was an abundance of skin and sultry was a word that pretty much summed up the collections. My interest was piqued when Giorgetti selected as creative director. How would he put his stamp on the label and how would it differ from Dundas’ unique reign. Those questions were answered last week when Giorgetti presented the Pucci Resort 2016 collection during Pitti Uomo in Florence.
“The Pilot Episode” he dubbed it. A pilot episode gives us a taste of whats to come. Giorgetti spoke to some journalists, comparing his “pilot episode” to Game of Thrones and how we see the world, we see the characters but ideas are to be fleshed out. That was what happened at the presentation. Nineteen looks were presented, all of which were easy on the eye.
Giorgetti didn’t entirely eschew from using the optical prints that are usually shown. Primarily, he opted to etch illustrations. Paintbrushes about to dip into some paint. Realistic graphics of tourists wielding selfie-sticks, equipped with cameras and a thirsty eye - taking in sights. Where optical prints were used they were revitalised. Painterly strokes ensured that the clothes had an unfinished, artsy look about them. Some strokes were finer. To enhance those, a simple black-white-orange-fuchsia combination was transformed by the usage of different materials. This helped give the collection a textual joie de vivre. There was printed fringe and confetti-esqe bedazzlements. Laser cut materials - and printed tops that were similar - all gave the needed Giorgetti sensibility that will make the label his own.
Accessories, potentially a bestseller that will arise from this collection in November, came in droves. Leather belts, fringed handbags, fur-ridden short heels. Bucket bags were scrunched up, appearing like an artists pack. The label’s logo was placed on a bottle-green and pearly-white handbag. That, I’m sure will be the best selling look.
Pilot episodes aren’t always screened publicly. If they fail, no one will hear of them and the only harm done is to the creative team. In this case, the pilot episode was highly successful. Giorgetti has branded Pucci with a unique, realistic and modern outlook. I look forward to seeing this broadcast continue in September.