Guests at Gucci’s SS23 presentation saw a catwalk divided with what appeared to be two simultaneous shows, until about half way in when a divider was lifted to reveal its identikit.
This was Gucci’s Twinburg, a collection of 68 identical looks, worn by identical twins. In a statement Gucci said “symmetry is sought and seen, even when it is not there. Existence is not defined by the visible world and it is shaded and nuanced by that which lies in the spaces between.”
A backdrop of photographs by Mark Peckmezian captured a series of portraits to present a glimpse into the vision behind the House's latest fashion show.
Creative Director Alessandro Michele is the offspring of an identical twin - his mother and aunt are twins - and privy to a bond that was impenetrable, innate and perhaps inexplicable. If the Gucci catwalk were to herald real life, there would be no space for divisionism.
No room for divisionism
On the eve of Italy’s newly elected far right government, the progression of individuality and diversity has never been more at stake. Hence the bright red glitter jackets emblazoned with the text Fuori!!!, translating loosely to ‘out’ in English, which was also the name of a gay rights magazine from the country’s Fronte Unitario Omosessuale Rivoluzionario Italiano. Post show Michele said: “we are entitled to freedom. We fought to say the issue was freedom.”
As the models converged to walk side by side, hand in hand, the idea of human beings being stronger together was palpable. Of the looks, there were the usual Gucci-isms: the genderless pussy-bow blouses, the kaleidoscopic two piece sets (in floral, jacquard, or in a brightly-coloured sportswear vibe; in leopard, chinoiserie, or just plain sparkling) with multi-layered details, abstract references and heady dose of eclectic accessories, like chain-dripping sunglasses. Taking it all in as an ensemble was a melting pot that harked back to the eighties. Gremlins, that pesky creature from Steven Spielberg’s infamous 1984 film, made a return, on bags, embroideries and on top of slides.
Their quirky presence did not detract from Michele’s humanist vision, the freedom to dream, to dress and be, whomever we dare to be.