Gucci Appraisal - Fashion In Context (1st Year) by ellawesterman

Gucci Appraisal S/S 18 A/W 18 Ella Westerman 201329498

Word Count: 2543

Figure 1. Gucci S/S18 Campaign (Cheng Z, 2017)

Introduction

Contents

Fashion is a continuous cycle. It is “obsessed with the new, yet it continually harks to the past” (Arnold R, 2009, p2). Designers repeatedly take inspiration from trends from different decades in history, in which they update and rework to become relevant to the contemporary consumer. Alessandro Michele’s Gucci Spring/Summer 2018 and Fall/Winter 2018-19 collections are examples of this practice as the designs draw “on all of fashion history” (Madsen A, 2017) with his collections an “orchestration of retooled vintage” (Mower S, 2017). Both Gucci collections pull inspiration from different eras and cultures, showcasing the how the “multi-faceted is Michele’s aesthetic” (Madsen A, 2017). There is no distinct theme that runs throughout the collections, except one of “maximalism” (The Guardian, 2017). Yet, even though Gucci’s creative director Alessandro Michele is known for “mixing eras and styles all over the place”, his clever reworking and reinvention ensures the garments remain relevant in the current fashion market (The Guardian, 2017).

Introduction ........................... Page 3 S/S 2018 ............................... Page 4 Power Suit ........................ Page 5 Ahola Shirt ............................ Page 6 Tote Bag ............................... Page 7 Loafers ................................ Page 7 Aviator Sunglasses ..................... Page 8 A/W 2018 .......................... Page 9 Sequins ..................... Page 10 Lace .............................. Page 11 Maxi Skirt ........................ Page 11 Body Chain ........................ Page 12 Tifosa Bag .................. Page 12 Balaclava ......................... Page 13 Conclusion ........................ Page 14 List of References ................ Page 16-18 List of Illustrations ............. Page 19-21 Figure 2. Gucci Gift Giving Campaign 2017 (Cadogan D, 2017)

Figure 3. Gucci S/S18 Campaign (Cheng Z, 2017)

Power Suit

Figure 5 Gucci quote (Culturacuenca, no date)

Look 93 Figure 4. Gucci S/S18 Hawaiian Suit (Mower S, 2017)

During the 1980s, “women began to take a more prominent role in business” (Ffoulkes F, 2010, p100).

Figure 8. 1940s suits (Glamourdaze, 2015)

Figure 9. Princess Diana powersuit (Habtesellasie M, 2017)

2018 Collection

To do so effectively, they adopted a way of dressing that mirrored their male counterparts (Steer D, 2009, p10). Power dressing involved the “jacket, hanging loosely from wide shoulders” (Carnegy V, 2006, p32). This design gave a “sharp, downward triangular silhouette”(Fukai A, 2002, p625), which “disguised the waist and narrowed the hips” (Carnegy V, 2006, p32). In doing so, powersuits removed the focus off gender and created a feeling of authority as the “traditional sex roles continued to blur” (Komar M, 2016). Women used power dressing as a “political language to illustrate” their changing positions in society” (English B, 2007, p110). This trend peaked “between 1984 and 1989” (Vogue, 2018) after it was adopted by leading public figures like Margaret Thatcher, Hilary Clinton and Princess Diana. Michele has reworked the power suit to offer a more relaxed, oversized fit in comparison to those in the 1980s. The combination of the silhouette and print creates a comfortable attire that is more relevant to the current market for office wear as work has become “increasingly more casual” with dress codes that allow employees to “reflect society’s more relaxed approach to clothing” (Segran E, 2018)

Figure 6. Chanel Suit, 1929 (Vernose V, 2020)

S pring Summer

In look 93, Alessandro Michele has design an oversized two piece suit that has evidently taken inspiration from the 1980s trend of power dressing. The print and silhouette epitomise the decade when fashion was all about excess and everything was big and bold (Brewer T, 2019). Even though, the power suit is largely associated with the 1980s, the origins of this trend can be found in the Chanel suit of the 1920s. Chanel designed “clothing for comfort and simplicity” (Fukai A, 2002, p334) so “ideas for outerwear ... came from men’s clothing” (Ffoulkes F, 2010, p232). The boxy jacket was either worn with a fitted skirt or a shift dress. The shift dress was a classic style of dress, that also originated “in the 1920s with the flappers” (Niven F, 2012, p35). By the 1940s, “the scaled-up shoulders” of the female suit “went mainstream”, thanks to the American actress Joan Crawford (Vogue,2018). However, in the post war years, more feminine designs were preferred and this form of “tailoring went on hiatus until the 1980s” (Vogue, 2018).

Figure 7. Joan Crawford 1940s (Stirred, Straight Up with a Twist, 2011)

Aloha Shirt

Figure 10. The art of the Aloha shirt poster (Aloha spotter, 2016)

Figure 11. Elvis’ Blue Hawaii (Smith M, 2019)

The loafer “originated in Norway” in the 1930s with the designer Nils Gregoriusson (Ffoulkes F, 2010, p175). Inspired by the “moccasin shoe worn by the native Indians in North America” and the simple shoes worn by Norwegian fishermen (Trickers, 2018), the popularity of this style of loafer was noted and commercial production began, with exports sent across Europe and America (Shires R, 2017). The style of loafer widely recognised today and those used in the Gucci outfit, were popularised in the 1950s by G.H Bass. Gucci began producing the Horse Bit Loafer in 1953. These became the shoe of choice for students and business men alike. So by “1969, Gucci was selling 84 thousand pairs of the horsebit loafer in the US alone” (Schneider S, 2018). Michelle has reworked this typically masculine shoe by using white leather and adding a colourful central line which creates a more feminine feel.

Tote Bag The etymology of the word tote, can be traced back to the 17th century, but the style of tote bag recognised today has its origins in the 1940s (ReTweed, 2019). In 1944, the brand LL Bean introduced the tote bagfor carrying ice (HBX Journal, 2017). Strength, durability and versatility of the bag made it instantly popular. By the 1950s, it had become a staple among housewives for grocery shopping (Irish A, 2017). The emergence of the tote bag into the world of fashion came in the 1960s, with Bonnie Cashin’s designs of leather tote bags in a range of vibrant colours for Coach (ReTweed, 2019). In terms of reworking trends, Michele has designed a high quality brown suede tote with the large central interlocking G’s of the Gucci logo. The “logo symbolizes grandeur and authenticity” (ebaqdesign, no date). This therefore highlights how michele is designing a bag that can be worn for any occasion not just as a shopping bag.

Figure 12. Gucci Loafers (Farfetch, 2020)

Figure 13. G H Bass Loafers (Jacobs E, 2019)

Figure 15. Gucci Tote (Alamy, 2019)

It is disputed who originally designed the first shirt, but it was trademarked the Aloha shirt by Ellery Chun in 1935 (Arthur L, 2006, p17). The shirt was popularised in the post war years by “American servicemen” and tourists to Hawaii, who “took examples home” (Ffoulkes F, 2010, p147). However, the design was pushed into “mainstream consciousness” when Elvis Presley donned a red floral Aloha shirt in the 1961 film Blue Hawaii (Cheng A, 2018).

Loafers

Figure 14. Gucci Tote illustration (Cheng Z, 2017)

In light of the fashion industry’s “renewed interest in maximalism, with an emphasis on happiness and colour” Michele has designed a power suit that features a Hawaiian Aloha shirt pattern (Cheng A, 2018). The Aloha shirt’s “existence can be traced to a confluence of cultural influences” (Cheung A, 2018). The growing communities of immigrant workers from China, Philippines and Japan in the late 1800s, saw each bring their own cultural style, fabrics and ancestral ceremonial dress. It was from the interaction of these several immigrant groups, as well as native Hawaiian fashions, that the design motifs developed for the Aloha shirts (Arthur L, 2006, p11). The first Hawaiian shirt appeared in the 1920s (Crawley L, 2012). It had a Western style silhouette, was cut from Japanese kabe crepe fabric, made by Chinese and Japanese migrant tailors and was worn like a Filipino barong (Cheung A, 2018).

Figure 16. 1940s LL Bean Tote bag (Etsy, no date)

Figure 22. Gucci quote (We Heart It, no date)

Aviator Glasses Aviator sunglasses were developed in 1936 by Ray Ban for pilots to protect their eyes whilst flying. The tear-drop design of the lens aimed to “prevent as much light as possible from entering the eye from any angle” (Murray I, 2019). During WWII, aviators became standard gear for military men after General Douglas MacArthur was photographed landing in the Philippines wearing a pair. During the post-war era, the popularity of aviator sunglasses grew exponentially as they became part of trends that mimicked the military style (Murray I, 2019). The associations shifted over time as Hollywood stars like Marlon Brando and public figures like “former American first lady, Jacqueline Kennedy Onassis” (Molomo K, 2018) became associated with the style. . Michele has done little to rework the classic , androgynous aviators as they are a timeless piece. The subtle gold frames and clear lenses effectively accessorise any outfit year upon year.

Figure 18. Gucci Aviators (The Rake, 2020)

figure 20. Jackie Onassis Sunglasses (Getty Images, 2020

Figure 17. Gucci Model in Aviator Glasses (Gucci, 2020)

Autumn Winter 2018 Collection

Look 37

figure 19 . General Douglas MacArthur Aviator Sunglasses (Murray I, 2019)

Figure 21. Gucci A/W outfit (Madsen A, 2018)

Sequins

Figure 24. 1920s dancer (Burlexe, 2013)

The resurgence of the sequin trend occurred 50 years later in the 1970s with another dance culture, disco. Disco dancers in the 1970s “wore what got them noticed” (Reed P, 2012, p104). Therefore, sequins became the go-to for every “showstopping look” (Leaper C, 2017) as their “clothes could not be outshone by the glitter on those dance floor mirror balls” (Reed P, 2012, p104). Sequins were championed by celebrities like “Cher and Bianca Jagger in Studio 54”, New York’s most iconic nightclub at the time (Leaper C, 2017). Michele’s interpretation of the sequin trend is evidently just as bold as that of the 1920s and 1970s, however he has incorporated them into a more relaxed fitting jacket. This suggests that Gucci have opted for a contemporary approach to sequins as they are offering a combination of an overly dressy material with a more casual sports inspired jacket. This style of loosely fitted jacket can be associated with the athleisure trend as it “is a blend of aesthetics from the sports and fashion industry” (Medium, 2018). Gucci’s design fits into the category of “clothing meant to look like athletic but has no inherent technical function” (Wilson C, 2018). Even though, the sequins make it impractical, it is “consumer desire for a multifunctional wardrobe”, that drives the athleisure trend (Cheng A, 2019). 10

Figure 26. Gucci sequin jacket (Flannels, 2020)

Figure 23. 1920s model (Marie Claire, 2015)

The flappers of the 1920s “popularised sequins as a fashion en mass” (The Telegraph, 2017) as their dance, the Charleston relied upon alot of movement. This meant that the heavily sequined dresses adorned by the flapper girls gave the “look of a moving column of light” during their dances (Leaper C, 2017).

Figure 25. Bianca Jagger Studio 54 (Pinterest, 2020)

Gucci’s look number 37 pulls inspiration from trends from a multitude of areas as aspects of the outfit originated during the renaissance and the early 20th century. The statement sequin jacket is an example of this as sequins were popularised in the 1920s and 1970s. When “Tutankhamen’s toom was discovered in 1922, fashion reacted by creating a craze for things Ancient Egyptian” (Worsley H, 2004, p152). The tomb revealed “splendid garments embellished with tiny disks made of pure gold” (Redfern E, 2019). It was this discovery, along with the “ensuing fad for the exotic East” that popularised the sequin as Western fashion was quick to emulate these dazzling new artefacts (Nesmith M, 2017).

Figure 27. Gucci lace tights (Murray G, 2018) Figure 29. Model in lace maxi skirt 1970s (Algoo J, 2020

Lace Skirt

Look 37’s lace maxi skirt has pulled inspiration from a multitude of different eras. The “decorative, openwork” fabric first “developed in Europe during the 16th century” (SFO Museum, 2014) has been combined with a simple 1970s style maxi skirt to create a classic garment. Lace was an “increasingly important component of fashionable dress”, used in to create “elaborate cuffs, collars and ruffs” (Parmal P, no date). This expensive luxury item was seen as an indicator of social status with only the aristocracy and royalty being able to afford it. Lace was a royal favourite of both Queen Elizabeth I and Queen Victoria (The Guardian, 2011), showcasing the longevity of the fabric. “Machine-made lace” began to be “produced in the 1840s” and this is the “type of lace mainly seen today” in garments like Gucci’s (Ffoulkes F, 2010, p70).

Michelle has used the lace fabric in the making of a maxi skirt. Elements of the skirt such as the loose structure and length, can be associated with the revival of Edwardian fashions in the 1970s by designers like Laura Ashley. The ankle length skirt incorporates a mixture between Bohemian and Edwardian dress. This “nostalgic English country look” (Worsley H, 2004, p608) reflected the “back to nature movement” by embracing older techniques to create clothing that was loose and soft (Reed P, 2012, p44). This is relevant in the contemporary market as consumers are beginning to move away from the throwaway fast fashion culture and consider sustainability. Michelle has utilised the lace to create a youthful reworked skirt that is simple, classic. The skirt does not adhere to the fast fashion trends, therefore consumers will be able to wear this garment year on year as it is a piece that doesn’t age. Figure 28. Queen Elizabeth I (Swash R, 2011)

Tifosa Bag

Figure 30. Mata Hari (McLaughlin K, 2017)

The emergence of the handbag as a fashion statement in the 1960s, saw it become a key accessory to any outfit. Michele incorporates aspects of the athleisure trend into his outfit through the Tifosa bag’s spherical construction that “recalls the shape of a basketball” (Shape, 2019). The tote bag references the athletic world with “unexpected sports-inspired designs” (Gucci, 2019). The Gucci design is similar to that of a limited-edition collection created by Louis Vuitton for the 1998 World Cup, which incorporates a football shaped structure into a luxury leather

Michele has accessorised the outfit with an oversized body chain. The body chain is an “eccentric form of jewellery, whose origin can be traced” back 4000 years “to Indian classical and belly dancers” (TNN, 2015). Imperialism in the 19th century brought India under the control of the British empire, sparking huge interest in the Indian culture. Subsequently, belly dancing gained popularity in the West, therefore body chains gained greater public awareness (Drizzle, 2017). Designers eager to replicate these new trends utilised the increasing “acceptance ... of costume jewellery”(Ffoulkes F, 2010, p198). This fashion trend was based on the concept “that jewellery no longer had to advertise one’s status and wealth” but instead was a symbol of “popular aestetic taste”(English B, 2007, p35). Therefore this accessory became closely associated with the fashions adorned by early 20th century exotic dancers such as Mati Hari and Josephine Baker. Michelle has adapted this trend to engage with the festival wear market.

The outfit has been styled with a balaclava, “close fitting, knitted cap that covers the head” and neck, leaving just parts of the face exposed (Brucculieri J, 2018). This Gucci accessory reportedly originates back to the Crimean War, when “British women knitted head coverings for unprepared troops fighting” in the bitterly cold war in the Ukraine (Pithers E, 2018). The balaclava has since been used regularly by the British army as “part of the winter uniform” (Kalushniy K, 2019). In modern times, it is predominantly worn by winter sport lovers due to its practicality as well as style. Jackie Kennedy notably wore on in 1968 during a skiing holiday (Bobb B, 2018). The balaclava has also become a symbol for protestors, “like the members of Pussy Riot, who wear pink” ones to hide their faces and obscure their identities (Bobb B, 2018). According to Alessandro Michele, he has used the balaclavas in his collection as they hide the face of the model and “act as a universal equaliser, hiding the biological sex, skin colour and physical features of the carrier” (Kalushniy K, 2019). This allows for the audience to engage with the clothes rather than the models. To make this more relevant to the consumer, Michele has designed more of a hat-based version that doesn’t cover the neck, which is evidently more wearable. The colour blocking of the balaclava appears “sporty and slightly retro” (Bobb B, 2018).

bag (Marine B, 2019). Whilst both were heavily inspired by sporting culture, the use of leather adds a level of luxury to the design.

Figure 31. Gucci body chain (Eckardt S, 2018) Figure 32. Gucci Tifosa Bag (Luisaviaroma, 2018)

Figure 33. Gucci model (Eckardt S, 2018)

Body Chain

Balaclava

Figure 36. Jackie Onassis Balaclava (Benson H, 2017,p123)

Figure 34. Models in Balaclavas (Young E, 2018)

Figure 35. Models in Balaclavas (Young E, 2018)

Conclusion

Fashion is “evolutionary, with the core design ... of an item often hundreds of years old” (Corner F, 2014, p84). This concept is evident in both outfits from the Gucci collections that pay homage to fashion trends of the past with different decades and cultures referred to in each look. Alessandro Michele incorporates trends from multiple eras into one outfit, creating a contrasting yet complimentary look. He reinterprets previous trends by using new materials, silhouettes and motifs in his designs. This showcases how the fashion industry is a continuous cycle, with trends being reworked and reinvented to appeal to a contemporary market. The fact that Michele can incorporate very different trends from different eras and cultures yet retain a cohesive look for Gucci’s aesthetic, showcases his broad knowledge of fashion history. The fact that older trends can be recycled, may also offer a solution to the question of sustainability in the fashion industry.

Figure 37. Gucci Jesus (Pinterest, no date)

Figure 38. Gucci S/S18 Campaign (Cheng Z, 2017)

List of References:

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Leaper C, 2017, The surprising history of sequins- a symbol of decadent dressing since 1341 BC [online]. [Accessed 12th March 2020]. Available from https://www.telegraph.co.uk/fashion/style/surprising-history-sequins-symbol-decadent-dressing-since-1341/ Madsen A, 2017, Gucci [online]. [Accessed 11th March 2020]. Available from https://www.vogue.co.uk/shows/spring-summer-2018-ready-to-wear/gucci Mancini M, 2015, A Brief History of the Hawaiian Shirt [online]. [Accessed 10th March 2020]. Available from https://www.mentalfloss.com/article/66921/brief-history-hawaiian-shirt xMarine B, 2019, Rihanna’s Louis Vuitton Soccer Bag Ball Is a Piece of 90s History [online]. [Accessed 16th March 2020]. Available from https://www.wmagazine.com/story/rihanna-soccer-bag-louis-vuitton/

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Cheng A, 2019, More Signs The Athleisure Trend Isn’t Slowing Anytime Soon [online]. [Accessed 16th March 2020]. Available from https://www.forbes.com/sites/andriacheng/2019/09/26/more-signs-the-athleisuretrend-isnt-slowing-any-time-soon/#212f41f21691

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Fukai A, 2002, Fashion A History from the 18th to the 20th Century. Taschen: Italy. P334, p625 Gucci, 2019, Basketball shaped tote bag [online]. [Accessed 13th March 2020]. Available from http://ww.gucci.com/pt/en_gb/pr/men/mens-bags/basketball-shaped-tote-bag-p-541830PL0T1000?position=1&listName=RecentlyViewed HBX Journal, 2017, A Brief History on Tote Bags [online]. [Accessed 10th March 2020]. Available from https://hbx.com/journal/2017/7/history-of-tote-bags Ian Murray, 2019, History of the aviator sunglasses [online]. [Accessed 10th March 2020]. Available from https://murrayandhaggerty.co.uk/2019/04/13/aviator-sunglasses-history/

ReTweed, 2019, A short history of the tote bag [online]. [Accessed 10th March 2020]. Available from https://www.retweed.com/2019/10/a-short-history-of-the-tote-bag/ Schneider S, 2018, Is It Worth It? Gucci Horsebit Loafers [online]. [Accessed 10th March 2020]. Available from https://www.gentlemansgazette.com/is-it-worth-gucci-loafers/ Segran E, 2018, From armor to icon: How women’s suits became cool again [online]. [Accessed 27th April 2020]. Available from https://www.fastcompany.com/40574667/from-armor-to-icon-the-enduring-appeal-of-thepower-suit

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List of References:

List of Illustrations:

Sims J, 2018, The History of the Hawaiian Shirt [online]. [Accessed 10th March 2020]. Available from https://therake.com/stories/style/the-history-of-the-hawaiian-shirt/

Background: Gucci floral wallpaper (Gucci, 2020, New Flora print wallpaper) [online]. [Accessed 20th March 2020]. Available from https://www.gucci.com/uk/en_gb/pr/decor/wallpaper/new-flora-print-wallpaper-p-570187ZABNC4494

Steer D, 2009, The 1980s and 1990s (Costume and Fashion Source Books). New York: Chelsea House Publishers, p10 Shires R, 2017, History of the Loafer [online]. [Accessed 11th March 2020]. Available from https://www.mainlinemenswear.co.uk/blog/2017/history-of-the-loafer

Figure 1. Gucci S/S18 Campaign (Cheng Z, 2017, GUCCI UNVEILS ITS SPRING/SUMMER 2018 “UTOPIAN FANTASY” CAMPAIGN) [online]. [Accessed 29th April 2020]. Available from https://hypebae.com/2017/12/ gucci-spring-summer-2018-campaign

The Guardian, 2017, Why is Gucci on the up? Because of millennials (and Elton John) [online]. [Accessed 11th March 2020]. Available from https://www.theguardian.com/fashion/shortcuts/2017/oct/30/gucci-millennials-elton-john-fashion

Figure 2. Gucci Gift Giving Campaign 2017 (Cadogan D, 2017, Discover the surreal Gucci artist inspired by Spirited Away) [online]. [Accessed 2nd May 2020]. Available from https://www.dazeddigital.com/fashion/article/38092/1/discover-the-surreal-gucci-artist-inspired-by-spirited-away-ignasi-monreal

TNN, 2015, Rocked the body chain yet? [online]. [Accessed 12th March 2020]. Available from https://timesofindia.indiatimes.com/life-style/fashion/buzz/Rocked-the-body-chain-yet/articleshow/47513898.cms

Figure 3. Gucci S/S18 Campaign (Cheng Z, 2017, GUCCI UNVEILS ITS SPRING/SUMMER 2018 “UTOPIAN FANTASY” CAMPAIGN) [online]. [Accessed 29th April 2020]. Available from https://hypebae.com/2017/12/ gucci-spring-summer-2018-campaign

Trickers, 2018, History of the penny loafer [online]. [Accessed 11th March 2020]. Available from https://www. trickers.com/uk/journal/post/the-penny-loafer Vogue, 2018, The Evolution of the Power Shoulder [online]. [Accessed 12th March 2020]. Available from https://www.vogue.co.uk/article/the-evolution-of-the-power-shoulder Wilson C, 2018. Why The Word “Athleisure” Is Completely Misunderstood. [Online]. [Accessed 16th March 2020]. Available from https://www.forbes.com/sites/chipwilson/2018/04/18/why-the-word-athleisure-is-completely-misunderstood/

Figure 4. Gucci S/S18 Hawaiian Suit (Mower S, 2017, Gucci) [online]. [Accessed 16th March 2020]. https://www.vogue.com/fashion-shows/spring-2018-ready-to-wear/gucci/slideshow/collection Figure 5 Gucci quote (Culturacuenca, no date, What are we going to do with all this future?) [online]. [Accessed 2nd May 2020]. Available from https://www.storcases.com/product_info.php?c=gucci%20common%20 sense%20isnt%20that%20common%20wallpaper%20quotes Figure 6. Chanel Suit, 1929 (Vernose V, 2020, The history of the Chanel tweed suit) [online]. [Accessed 17th March 2020]. Available from https://www.crfashionbook.com/fashion/a26551426/history-of-chanel-tweedsuit/

Worsley H, 2004, Decades of Fashion. Getty Images: London. p152, p608 Figure 7. Joan Crawford 1940s (Stirred, Straight Up with a Twist, 2011, The Fabulous Forties) [online]. [Accessed 17th March 2020]. Available from http://stirredstraightup.blogspot.com/2011/09/fabulous-forties.html Figure 8. 1940s suits (Glamourdaze, 2015, 1940s Fashion – US War Restrictions on Dresses) [online]. [Accessed 2nd May 2020]. Available from https://glamourdaze.com/2015/07/1940s-fashion-us-war-restrictions-ondresses.html Figure 9. Princess Diana powersuit (Habtesellasie M, 2017, The story behind the photo: Diana Princess of Wales’s power suit) [online]. [Accessed 30th April 2020]. Available from https://www.womansown.co.uk/celebrity/the-story-behind-the-picture-diana-princess-of-wales-power-suit-47295/ Figure 10. The art of the Aloha shirt poster (Aloha spotter, 2016, Aloha shirt reading list) [online]. [Accessed 18th March 2020]. Available from https://alohaspotter.com/reading-list/ Figure 11. Elvis’ Blue Hawaii (Smith M, 2019, The Enduring Appeal Of The Aloha Shirt) [online]. [Accessed 2nd May 2020]. Available from https://www.mrporter.com/en-us/journal/fashion/the-enduring-appeal-of-thealoha-shirt-913828 Figure 12. Gucci Loafers (Farfetch, 2020, Gucci Leather platform loafer with Horsebit) [online]. [Accessed 2nd May 2020]. Available from https://www.farfetch.com/uk/shopping/women/gucci-leather-platform-loafer-with-horsebit-item-13834129.aspx?storeid=10524 Figure 13. G H Bass Loafers (Jacobs E, 2019, BURNING QUESTIONS AROUND THE PENNY LOAFER) [online]. [Accessed 27th April 2020]. Available from https://www.ghbass-eu.com/blog/penny-loafer-burning-questions/ Figure 14. Gucci Tote illustration (Cheng Z, 2017, GUCCI UNVEILS ITS SPRING/SUMMER 2018 “UTOPIAN FANTASY” CAMPAIGN) [online]. [Accessed 30th April 2020]. Available from https://hypebae.com/2017/12/ gucci-spring-summer-2018-campaign

List of Illustrations:

List of Illustrations: Figure 15. Gucci Tote (Alamy, 2019, MILAN, ITALY - SEPTEMBER 22, 2019: Woman with silver sequin jacket and brown and black Gucci bag before Fila fashion show, Milan Fashion Week street s) [online]. [Accessed 3oth April 2020]. Available from https://www.alamy.com/milan-italy-september-22-2019-woman-with-silver-sequin-jacket-and-brown-and-black-gucci-bag-before-fila-fashion-show-milan-fashion-week-street-s-image336065553.html Figure 16. 1940s LL Bean Tote bag (Etsy, no date, 1940s LL Bean Leather Field Shopper Bag) [online]. [Accessed 27th March 2020]. Available from https://www.etsy.com/listing/190007451/1940s-ll-bean-leather-fieldtote-shopper?ref=shop_home_listings Figure 17. Gucci Model in Aviator Glasses (Gucci, 2020, Aviator metal glasses) [online]. [Accessed 30th April 2020]. Available from https://www.gucci.com/uk/en_gb/pr/men/accessories-for-men/sunglasses-for-men/ aviator-sunglasses-for-men/aviator-metal-glasses-p-506209I03308219 Figure 18. Gucci Aviators (The Rake, 2020, Gucci GOLD PILOT FRAMES WITH CLEAR LENSES EYEWEAR GG0138S 003) [online]. [Accessed 30th April 2020]. Available from https://therake.com/gucci-gold-aviatorframes-with-clear-lenses-eyewear.html figure 19 . General Douglas MacArthur Aviator Sunglasses (Murray I, 2019, History of the aviator sunglasses) [online]. [Accessed 18th March 2020]. Available from https://murrayandhaggerty.co.uk/2019/04/13/aviator-sunglasses-history/ figure 20. Jackie Onassis Sunglasses (Getty Images, 2020, FOREST HILLS, NY CIRCA 1975: Jacqueline Kennedy Onassis in huge sunglasses attends the Robert F. Kennedy Pro Celebrity Tennis Tournament at Forest Hills Stadium circa August 1975 in Forest Hills, Queens. (Photo by PL Gould/IMAGES/Getty Images) [online]. [Accessed 26th March 2020]. Available from https://www.gettyimages.dk/photos/jackie-kennedy-sunglasses?mediatype=photography&phrase=jackie%20kennedy%20sunglasses&sort=best Figure 21. Gucci A/W outfit (Madsen A, 2018, Gucci Autumn/Winter 2018 Ready-To-Wear Collection) [online]. [Accessed 16th March 2020]. Available from https://www.vogue.co.uk/shows/autumn-winter-2018-readyto-wear/gucci/collection

Figure 30. Mata Hari (McLaughlin K, 2017, The beauty who beguiled two nations: Images show the alluring dances of Mata Hari, the legendary double-agent killed by a French firing squad a century ago) [online]. [Accessed 30th April 2020].

Figure 31. Gucci body chain (Eckardt S, 2018, Go Backstage at Gucci’s Fall 2018 Fashion Show, Which Included Dragons, Decapitated Heads and Other Delightfully Shocking Visuals) [online]. [Accessed 2nd May 2020]. Available from https://www.wmagazine.com/gallery/gucci-fashion-show-decapitated-head-dragon/ Figure 32. Gucci Tifosa Bag (Luisaviaroma, 2018, TIFOSA GUCCI LEATHER BALL BAG) [online]. [Accessed 2nd May 2020]. Available from https://www.luisaviaroma.com/en-gb/p/gucci/men/68I-H0V005?ColorId=MTAwMA2&AID=13230541&PID=8752526&SID=708357065&utm_source=CommissionJunction&utm_medium=affiliation&utm_content=8752526&utm_campaign=5074095&CJEVENT=20a29ff68c8411ea82b801850a180510&click_id=20a29ff68c8411ea82b801850a180510 Figure 33. Gucci model (Eckardt S, 2018, Go Backstage at Gucci’s Fall 2018 Fashion Show, Which Included Dragons, Decapitated Heads and Other Delightfully Shocking Visuals) [online]. [Accessed 2nd May 2020]. Available from https://www.wmagazine.com/gallery/gucci-fashion-show-decapitated-head-dragon/ Figure 34. Models in Balaclavas (Young E, 2018, Is This Winter Trend Chic or Ridiculous? You Decide) [online]. [Accessed 2nd May 2020]. Available from https://www.manrepeller.com/2018/03/balaclava-trend.html Figure 35. Models in Balaclavas (Young E, 2018, Is This Winter Trend Chic or Ridiculous? You Decide) [online]. [Accessed 2nd May 2020]. Available from https://www.manrepeller.com/2018/03/balaclava-trend.html Figure 36. Jackie Onassis Balaclava (Benson H, 2017, Harry Benson: Persons of Interest. Powerhouse Books: NY, p123 Figure 37. Gucci Jesus (Pinterest, no date, Ashley longshore: Gucci Jesus) [online]. [Accessed 2nd May 2020]. Available from https://www.pinterest.com/pin/236439049167755397/ Figure 38. Gucci S/S18 Campaign (Cheng Z, 2017, GUCCI UNVEILS ITS SPRING/SUMMER 2018 “UTOPIAN FANTASY” CAMPAIGN) [online]. [Accessed 29th April 2020]. Available from https://hypebae.com/2017/12/ gucci-spring-summer-2018-campaign

Figure 22. Gucci quote (We Heart It, no date, you smell like a really good dream) [online]. [Accessed 3rd May 2020]. Available from https://weheartit.com/entry/312747065 Figure 23. 1920s model (Marie Claire, 2015, From Biba To Studio 54: A Brief History Of Iconic Sequin Looks). [online]. [Accessed 22nd April 2020]. Available from https://www.marieclaire.co.uk/fashion/from-biba-tostudio-54-a-brief-history-of-iconic-sequin-looks-235110 Figure 24. 1920s dancer (Burlexe, 2013, FIVE 1920S BURLESQUE ICONS) [online]. [Accessed 2nd May 2020]. Available from https://burlexe.com/burlesque/burlesque-history/five-1920s-burlesque-icons/ Figure 25. Bianca Jagger Studio 54 (Pinterest, 2020, no title) [online]. [Accessed 1st May 2020]. Available from https://www.pinterest.co.uk/pin/132152570292117921/ Figure 26. Gucci sequin jacket (Flannels, 2020, Gucci GG EMBROIDERED SEQUIN BOMBER JACKET) [online]. [Accessed 1st May 2020]. Available from https://www.flannels.com/gucci-gg-embroidered-sequin-bomber-jacket-606508 Figure 27. Gucci lace tights (Murray G, 2018, Gucci Is Here For The Weirdos Of The World) [online]. [Accessed 3rd May 2020]. Available from https://www.refinery29.com/en-gb/gucci-2018-campaign Figure 28. Queen Elizabeth I (Swash R, 2011, A brief history of lace) [online]. [Accessed 30th April 2020]. Available from https://www.theguardian.com/fashion/gallery/2011/oct/19/a-brief-history-of-lace?CMP=EMCLIFEML1634#/?picture=380231236&index=0 Figure 29. Model in lace maxi skirt 1970s (Algoo J, 2020, A Look Back at the Greatest 1970s Fashion Moments) [online]. [Accessed 1st May 2020]. Available from https://www.harpersbazaar.com/fashion/trends/ g6495/70s-fashion-in-photos/?slide=23