Since unique, creative Alessandro Michele took the throne as Creative Director of Gucci last year, the Italian luxury brand has completely revolted against the traditional definition of beauty. Contrastingly, Michele introduced a fresh, quirky, unconventional aesthetic that grew increasingly stronger with each collection. As evident as was present in the first collection, the Wes Anderson influence is somewhat of a continued feature.
For Michele’s debut collection under Gucci, the designer credited Wes Anderson as the stylistic muse. A blonde model walked the runway styled in a light tan fur coat, a blush pink top, hunter green pleated skirt and a red beret. It caused the belief of witnessing Anderson’s Margot Tenenbaum from The Royal Tenenbaums take her spot in the Gucci parade. Featured in the same season collection was a contrast-trimmed, pajama-style black suit paired back to a beige toned turtleneck and a bold, red beret. Michele stamped the signature “GG” Gucci belt on the model’s waistline. The look referenced a different Wes Anderson film: Rushmore and Anderson’s character, Max Fisher. The collection’s trench coat was quite symbolic of Cate Blanchett’s character in The Life Aquatic. The Gucci FW15 collection as an entirety possessed the romantic, eclecticism of Moonrise Kingdom.
It is not just Michele’s collections that possess the Anderson effect, but also the delivery of the collections through their campaigns. The Gucci Cruise 2016 campaign was accompanies by a film shot by Glen Luchford in a grand, antique, Italian villa; the location itself that seemingly proved probable as a backdrop set for one of Wes Anderson’s films. The models danced whimsically throughout the villa; dressed in a collection of quirky appliqués, wallpaper prints and outcast accessories. The temperamental designs of Michele complimented with the seemingly, strange beauty in weirdness possessed the charisma and nostalgia one would imagine Wes Anderson’s mind to capture. Such similarities are also revealed in Gucci’s Fall16 campaign with candy-colored tones, warm hues and yellow subtitles.
Lighting up the #GucciFW16 campaign, @petrafcollins in a rhombus silk crêpe de Chine shirtdress, and a glossy trench with puffed sleeves and internal patch embroidery with the Dionysus hobo in quilted leather with a Web stripe strap. Photographer: @_glen_luchford Creative director: #AlessandroMichele Art director: @christophersimmonds
Featuring in the #GucciFW16 campaign, @petrafcollins wearing a floral chenille jacquard dress with necklace patch embroidery and a matelassé leather shoulder bag with a #GucciGhost print and GG hardware detail. See the campaign video through link in bio. Photographer: @_glen_luchford Creative director: #AlessandroMichele Art director: @christophersimmonds
While the designs themselves speak directly to the film aesthetic that Anderson is praised for, perhaps it transcends much more beyond the idea or imaginary, conceived thought that perhaps these characters could very well be dressed in the same collection pieces. Perhaps it is the romanticism portrayed in each of Anderson’s films that are similarly found in Michele’s creations, or the nostalgic hues that occupy the color palettes on both the big screen and the runway, or perhaps it is the acceptance of weirdness and individuality in its beautiful entirety that is exemplified by both geniuses that reminds us of such strong similarities between the two. Regardless, it is the comforting acceptance of humanity in each of their likes and differences that can be found in the unequalled creativity of both Alessandro Michele and Wes Anderson.
Written by JENNIFER PACCIONE