HOUSE OF GUCCI

HOUSE OF GUCCI

The Gucci family has repeatedly dissociated itself from the portrait that the film portrays, and I will not go into the merits, but now I can finally say that Lady Gaga in the House of Gucci is truly credible, for the vision I had of it.

So, taking up the talk on Patrizia Reggiani, apparently Lady Germanotta’s decision not to meet her did not affect the interpretation, despite Reggiani being annoyed.

Obviously I observed clothes, accessories, and outfits in general, with particular interest both for Gucci pieces and for 80s looks, and I have to say that I enjoyed the work of costume designer Yanti Yates.

Very scrupulous work, starting from months of study in the archives of the Gucci maison.

In an interview with the New York Times,  available in full on Instagram, Yanti Yates stated that Lady Gaga was hugely involved, not least because she is a complete clotheshorse and looks marvelous in everything. She was hugely focused on how her character might appear at a particular moment, and had very strong views on aspects like hair and makeup.

But also difficult work, again according to the statements made during the interview: I would create initial selections, and then she would select from there.

Gaga selected.

It also seems that there have been days when for her it was “not today.”

Moreover, the same Gucci website reports as an iconic statement from Yanti Yates: “Lady Gaga told me that in this movie she wanted to dress like her Italian mom. To create her looks, I was able to draw on both her personal and historical Gucci archives.”

Like her Italian mom

How good does this sentence sound?

At the same time, however, I have this doubt that is spinning in my head, so help me understand if my perception is deceiving me since, actually, in the early 70s despite I wasn’t really in the world from longer (also now I am not, but this is a other story).

Unfortunately I could not find the image of the scene in which Maurizio Gucci introduces Patrizia to his father Rodolfo, but more or less the same goes for the floral dress in this picture.

Obviously I’m nobody to question the reconstruction, which in all other situations I have admired, and I stress it well, but the idea of this dress leaves me perplexed. I’m wrong, right?

I leave you this roundup of outfits.

In addition to the clothes, House of Gucci offers the vision of a fantastic series of precious “vintage” cars.

In particular, I really loved the way director Ridley Scott frames the arrivals at Rodolfo Gucci’s home: focused on the entrance. From the outside to the outside.

This shot occurs more than once in the movie, with different cars arriving in front of that entrance.

For me it was a sort of “story within history,” almost a symbol to mark the time.

In the picture below, with the same principle, in contrast we are witnessing a departure.

Which is also a beginning: the beginning of a strategy for Maurizio being back in the company.

For the rest, I refer you to the review by Matavitatau, me, a bit like Cruella, I really enjoyed the non-original soundtrack.

As for the floral dresses, I felt a sort of temporal disorientation that in some cases conquered me, in others it left me a kind of question mark.

For example, I liked the choice for George Michael’s Faith as soundtrack of the wedding scene: despite the anachronistic incongruity, it gave me a joyfulness that counterbalanced the void created by the absence of Maurizio’s family.

On the contrary, I was perplexed listening to Ritornerai by Bruno Lauzi as the background to the scene in which Aldo Gucci goes with Maurizio and Patrizia to the estate where their historic breeding is located. The song is wonderful, ça va sans dire, and the meaning is centered on returning to the origins, but for my personal perception it is as if something screeches.

Apart from that, I could list one song more beautiful than the other, and I would like to propose them all: Here comes the rain again by Eurythmics, Heart of glass by Blondie, Ashes to ashes by the White Duke David Bowie, Blue Monday by New Order, Una notte speciale by Alice, Sono bugiarda by Caterina Caselli, but also Largo al factotum from Il Barbiere di Siviglia by Rossini, Madame Butterfly and much more.

As you choose which one you prefer to listen to first, here are some coffees.

And… the final blessing.

ALICE JANE RAYNOR

ALICE JANE RAYNOR

The Christmas countdown indicates 8 days to Christmas! While waiting today, the Advent calendar offers us the story of Alice Jane Raynor

I did not know Alice and she is a fantastic discovery!

Starting with the name which is a tribute to her beloved Jane Eyre

The restlessness was in my nature; it agitated me to pain sometimes.
Jane Eyre is really a character of the heart, so how not to immediately become attached to Alice?

Among other things, I discover that she loves to read everything, she studies mechanical engineering, is passionate about chemistry and physics, and also carries out historical research …

You will say: there can be nothing more! But no, there is more!
Alice experience her first publication at the age of sixteen.

I can only say chapeau and advise you to read his story The spirit of Christmas:
I walk the streets of a city – my city – and look at the shop windows, barely raising my eyes to a light, a reflection of golden paper and the notes of Christmas music that filters through the doors. The crowd forces me to proceed with a slowness that does not please me. I usually avoid those crowded places, these sticky people who stick to every part of my body go on here

MICAM 90 #StrongerTogether

MICAM 90 #StrongerTogether

The 90th edition of the MICAM exhibition closes today  which had MICAM in Wonderland as its theme with a great MICAM Digital Show in collaboration with the NuORDER platform, not only for e-commerce but also for after-sales services and above all communication.

After the debut in February, the MICAM X area  focuses meetings and workshops on four points: Art Fashion Heritage & Future, Retail of the future, Trends and materials, Sustainability.

But above all it should be noted the magic of #MicamTales which ranges from the Tea Tasting with set-up and White Rabbit to the IKIDS square: a fairytale setting in which there is also the most large shoe made in Italy with Lego bricks.

Special mention for #MicamDolls: an evolution of the collaboration with Humana which since 2017 has collected 21,500 pairs of unsold shoes with the initiative A hand with the feet and which this year has introduced the Wonder Dolls whose proceeds will go to the education of children in Malawi.

These dolls are inspired by Alice in Wonderland characters and are created with recycled yarns by the artist Allison Hoffmann who crochets them.

A special space has been dedicated to new designers,  MICAM is in fact a very important showcase that offers previews of what will be new trends to come.

Slippers stand out more among the novelties for the summer.
Very colorful and available in various versions from extra light to tank, padded, and decorated with stones or fur.
Here you can convince me because my retrograde vision takes over …

Seriously, one thing is sure: the right praise must be given to those who do not give up and do their utmost to restart with courage, inventiveness, spirit of adaptation and ability to evolve #StrongerTogether.

IT IS NOT THE PATH WHICH IS THE DIFFICULTY; RATHER, IT IS THE DIFFICULTY WHICH IS THE PATH. Sören Kierkegaard

IT IS NOT THE PATH WHICH IS THE DIFFICULTY; RATHER, IT IS THE DIFFICULTY WHICH IS THE PATH. Sören Kierkegaard

Many thanks Gabriella for the comment with the quote by Blaga Dimitrova:
“I’m not afraid they’ll stamp me flat. Grass stamped flat soon becomes a path”.

I didn’t know her but she immediately hit me a lot.
The idea of succumbing to become a path.
A new path in particular.

Yes, because in fact the already traveled roads seem to lead to worsening and impoverishment, I don’t know about you but I feel a little lost. Despite the proverb that our grandparents told us a bit as a negative warning:
Those who leave the old road for the new know what they leave behind and do not know what they find.

However, they had made progress on the road, and had the wisdom of their experience.

Instead we are regressing, we allow ourselves to be trampled without resistance just like grass, but we do not know how to form a path that leads us to better conditions, to an evolution in the human sense, to a well-being not enslaved by now global economic imperatives.

The Cheshire Cat concept also applies:
One day Alice came to a crossroads on the road and saw the Cheshire Cat on the tree.

“What path should I take?” churches.
The answer was a question:
“Where do you want to go?”
“I don’t know,” Alice replied.
“So,” said the Cheshire Cat, “it doesn’t matter.”

We don’t know where we want to go. Or rather: more than not knowing it, we don’t want it all the way. Am I wrong?

Aren’t we, in your opinion, almost on the point of no return, unable to accept that things will have to change, and will have to change a lot, and that the concept we had of the future has dissolved like a soap bubble?

Have you ever lost yourself? Wasn’t it an occasion where you walked a lot more?

The goal has not disappeared, it is more difficult to reach.

And perhaps we must first find ourselves in the shoes we have available, very tight, too uncomfortable and of short duration.

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