Fashion in Context Gucci Assignment

Fashion in Context Hannah Mary Egan-Fowler 201257744 Word count: 1981

SS18 Look 6

AW18 Look 64

Right to left: Figure 1 and 2

Inspiration for the upper body element of Gucci’s SS18 look 6 can be noted to be drawn from a vintage Marlboro cigarette packet. Frank Gianninoto redesigned the cigarette packet in 1955, in an attempt to make the newly established filter cigarette appeal to men as well as women (Hine, 1995). It can be observed that the 1955 Marlboro design itself takes inspiration from Campbell’s soup, who held the noticeable red and white colour scheme since 1899 (Neilson, 2014), which became an icon of the 60s due to Andy Warhol’s series of prints.

From Right to left: Figure 1 and 2 left to right: Figures 1 and 2.

Where the white meets the red in an arrow at the top of the Marlboro packet, Gucci has interpreted this format into the creation of Look 6. The ‘Oversize sweatshirt with Gucci cites’ (Gucci, 2019) has been layered over a vibrant red shirt with an oversized point collar, creating the same effect as Gianninoto’s Marlboro design. In Gucci’s own product description, they referenced the influence of the 1980s, as seen throughout the Spring Summer 2018 collection (Gucci, 2019).

When looking at the Marlboro image in the 1980s, one can see the influence of masculinity on their branding. Initially marketed at the ‘Marlboro Woman’ in the 1920s, Gianninoto’s redesign in the 1950s helped the brand move towards the ‘Marlboro Man’, catering for ‘rugged archetypal masculine characters’(Arrieta-Meraz, 2017). The 1980’s Marlboro advertisements show the ‘Marlboro Man’ as estranged cowboys and push the idea of rugged masculinity. The way in which Gucci has executed the Marlboro-inspired look on a female model might comment on the masculinity of the brand, and also restore the idea of Marlboro as a luxury commodity, especially with Marlboro’s modern packaging being restricted by the government to a standardised green packaging. The standardisation of cigarette promotion and packaging is highly contrasting to Marlboro’s earlier advertisements (Figures 1 and 4), which recalls a time where cigarettes were considered a personality trait and sense of freedom and sophistication, unlike current day where smoking is regarded as dangerous and somewhat unattractive.

The Marlboro-inspired look of the sweatshirt layered over the shirt has clear inspiration from the 1950’s cigarette redesign and the 1980’s oversized sweatshirt trend and sense of prominent advertisement. In terms of Gucci’s adaptation for a modern audience, the look can be seen as appealing due to the sense of rebellion again the standardised cigarette look nowadays, and the way in which the look is layered as the appeal of self-styling’ to consumers, meaning that consumers can create the look themselves, rather than buying a singular sweatshirt with the Marlboro design.

From left to right: Figures 3 and 4.

Right to left: 3 and 4

There are two necklaces layered in the look with the first Crystal Double G Necklace being a pendant and the second being a multi-chain peal effect necklace (Figure 8). The multi-chain necklace is finished with a feline head at the clasp closure, which has become iconic to the Gucci fashion House.

The feline head can also be seen on the shoulder bag, although it is out of view in the runway images. The ‘suede Rajah Tote’ bag features the iconic Gucci Web stripe and feline head. However, the feline head is not Gucci’s icon but inspired by the 1940s archives of Hatti Carnegie (Figure 6) . The 1940’s trend of the ‘Carnegie look’ was built upon “a belief that clothes should never be extreme and women should dress to please men”(Sicherman and Green, 1980). It could be suggested that Gucci has reinterpreted the idea of the ‘Carnegie look’ and reversed it, creating a bold statement piece for its consumers, rejecting the idea of being understated and creating opulent pieces. The tote bag’s web stripe is suggested to be inspired by the equestrian environment, with Gucci stating on their website that their iconic Web stripe motif was “inspired by the equestrian world, and has become the hallmark of a cultured club and is reintroduced in new forms”(Gucci, 2019).

The pearl effect of the necklaces references the renaissance look, shown here (Figure 9) on a portrait of Queen Elizabeth I. She displays a layered, multi-chain pearl necklace in a similar style to Gucci’s SS18 interpretation, but with hanging jewels rather than double Gs. The layering style and variation from long to choker lengths of necklace was widely enjoyed during the 19th century, with pearls in particular being favoured for their demonstration of social rank and opulence (National Portrait gallery, 2013). The style of the necklace has been referenced but adapted for by Gucci to promote the Double Gs and a kaleidoscope of colours, which can be seen as a playful element of the 1980s, that is referenced throughout the Spring Summer collection.

From left to right: Figures 5, 6 and 7.

Right to left: Figure 5, 6 and 7

As one of the collection’s more surprising pieces, look 6 includes Gucci’s Logo Stocking Garters. Garters were initially seen in the 1300s, as a display of fashion rather than a practicality but it was “men, not women, who were conspicuous in their extravagant taste and showy display of this accessory” (Lester and Oerke, P.303). The proud display of the garter reached its peak in the 17th century, and was rarely seen due to its hidden presence underneath trousers. The sock garter, also referred to as the hose garter was then seen in the 1920s, due to lack of rubber or elastic in socks at the time (Drowne and Huber, 2004). Advertisements of men’s garters can be seen stating “An Essential of Correct Dress for Men”, which is controversial to the modern day expectation of garters on women.

From left to right: Figures 8, 9 and 10.

It is striking to see a stocking garter in 2018, but Gucci’s Spring Summer collection references past era’s, showing here the 1920s. The stocking garter has been adapted for the modern day audience, with the ability to become a popular and talked-about piece due to its controversy with the idea of modern style.

Gucci’s logo has been embedded onto the garter, creating a sense of luxury that comes with the brand’s status. Established platforms such as Hypebae created a post focused on the item, stating “Gucci is now selling there luxe logo stocking garters; talk about statement-making” (Lam, 2018). Due to the sense of different, the stocking garters are made into an iconic, must have product, that a consumer can proudly display noting their £175 price-tag for a bit of fun.

The headscarf of look 64 consist of Gucci’s ‘Horse print scarf’, folded in half and tied underneath the chin, in a 1930’s style. This styling of the silk scarf began as a trend in the 1930s, and was then reintroduced in the 1950s, with cons of the time such as Audrey Hepburn and Brigette Bardot re-popularising the trend.

The execution of the style is referred to as a ‘babushka’ style, referring to the Russian word for ‘grandmother’, and denoting the way in which many Russian women, in particular the older generations, wear a headscarf. This uniform of grandmothers stems from the religion-based dress code, where the covering of the head seen to be a way of honouring the lord within the Christian culture. Due to the dying out of this suggested dress code, the style is mainly seen on the older generations, hence the styles nickname of ‘babushka’, due to the wearer’s older age. The babushka style headscarf inspired with a pair of sunglasses, which could be described as an extreme variation of the standard cateye shape. The pairing of the two accessories creates a sense of the 1950s Era. Created by Altina Schinasi, New York socialite, the cat-eye shape revolutionised wearing glasses for women. The style, originally called the ‘Harlequin’ pushed glasses to be more than a necessity but also a fashion statement, with the trend becoming popular in the 1950s and 60s (Vison Express, 2019) . In the film Altina, Schinasi discusses the inspiration behind the shaping of the sunglasses; a harlequin mask. The harlequin mask originates from a 16th Century demon-esque character seen in French plays. The earliest depiction of the character can be observed within the Museum of Bayeux, where a painting from the commedia dell’arte (an Italian theatrical form) shows a black masked character (Augustyn, 2019) . Schinasi took inspiration from the angled shape of the masks and was able to pair with Lugene Opticians and eventually won the American Design Award (Altina, 2014). The shape became increasingly popular with actresses such as Audrey Hepburn wearing them in 1961 film Breakfast at Tiffany’s. Breakfast at Tiffany’s is still hugely popular to this day, but notably made$178,000 in it’s first 11 days of release (Gristwood, 2010), showcasing it’s popularity at the time.

Gucci’s adaptation of the cat-eye sunglasses consists of the exaggeration of the shape, making it more angular and structured than the original shape. Heavier top framing meets the upwards angle, exaggerating the model’s cheekbones. Rose tinted glass stands at contrast to the dark frame colour, juxtaposing the intimidating shape.

From left right: Figures and12 12.

Right to to left: Figure 1111 and

Gucci’s ‘basketball shaped tote bag’ references the athletic world, stemming from it’s clear resemblance to the Basketball structure due to it’s spherical shape (Farfetch.com) It could be said that Gucci has taken the idea of athleisure to a whole new level with the £1420 leather bag, an increasingly popular trend. Athleisure, as a term, is suggested to originate from sportswear brand lululemon.

Founded in 1998, the athletic company is famed with the creation of the ‘boogie pant’, now displayed in the Museum of Modern Art as part of the ‘Items: Is Fashion Modern’ exhibition that declares the leggings as ‘iconic’ (Petter, 2017). The creation of the ‘boogie pant’ provided a practical trouser suitable for performance, as well as stylish enough to wear from the gym to the street.

Basketball originated in 1891, where Dr. James Naismith invented the game for his students. Played with a football indoors, the students were only allowed to throw catch and jump, and score points by throwing the ball into peach baskets (Helmer and Owens, 2000). Without regulation, Basketball had to be taught through word of mouth, with players teaching new players thus creating a sense of community and the reliance upon team members. The clear reference to the basketball in Gucci’s look 64 is also an interesting take on what one could consider as a bag.

‘Courtside style’ has become increasingly admired within contemporary fashion culture, with headlines such as Vouge’s “Courtside fashion: how to be the best dressed spectator” (Vogue, 2013) and E! News’ “Courtside Fashion is the New Street Style” (Burgan, 2016) showing the styles impact. Gucci’s version of the basketball brings a new meaning to the term courtside style, merging the two together to create a luxury accessory.

From left to right: Figures 13, 14 and 15.

Above: Figure 16.

The light blue felt cape coat is embellished with the letters NY, symbolising New York and a nod towards American Baseball team the new York Yankees. The collaboration is seen throughout Alessandro Michele’s Autumn Winter collection, including a series of caps and accessories. The New York Yankee’s logo has been depicted as interlocking since 1904, and has become an iconic symbol in its own right. Gucci has taken the team’s logo from the Yankee’s previous era as the New York Highlanders, where the letters stood side by side. The side-by-side logo was used until 1909, but is associated with the New York Highlanders rather than the Yankees, who they changed to in 1913, following the teams approval as members of the American League (Fischer, 2012).

The logo was designed by Tiffany & Co. for the Board of Police Commissioners; creating a Medal for Valour in 1877, and is still in use to this day.

Gucci’s choice to collaborate with the Yankee’s also comments on the concept of athleisure once again; upgrading the brand’s products. For example a New York Yankee Cap can be sold for £15, which the Gucci collaboration Yankee Cap is sold for £315; a £300 mark-up with limited change in style. The adaptation of the New York Yankee Logo onto the soft blue coat is a juxtaposition between the fragility of the coat and the masculinity of the sport and team.

References.

List of Figures.

Altina. 2014. [Film]. Peter Sanders. dir. USA. Eight Twelve Productions, Victoria Sanders Film Partners.

Cover Images Gucci. 2017. Gucci Spring Summer 2018 fashion show invitation. [Online]. [Accessed 8 May 2019]. Available from: https://www.facebook.com/gucci.korea/posts/presenting-the-invitationfor-the-gucci-spring-summer-2018-fashion-show-candles-/1507080679327682/

Arrieta-Meraz, J. 2017. “For Man’s Flavor Come To Marlboro Country.” The Marlboro Man And Its Advertising Success. St MU History Media.

Augustyne, A. 2019. Commedia dell’arte. Encyclopieda Britannica. [Online] [Accessed 20 April 2019]. Available from https://www.britannica.com/art/commedia-dellarte

Hypebeast. 2018. Gucci’s Fall/Winter 2018 Fashion Show Invitation is a countdown Clock. [Online]. [Accessed 8 May 2019]. Available from: https://hypebeast.com/2018/2/gucci-fall-winter-2018-fashion-show-invitation-countdown-timer

Burgan, R. 2016. Courtside Fashion is the New Street Style, according to these Celebs. E! News. [Online]. [Accessed 5 May 2019]. Available from https://www.eonline.com/uk/ news/751394/courtside-fashion-is-the-new-street-style-according-to-these-celebs

Look 6 Vogue. 2017. Spring/Summer 2018 Ready-to-Wear. [Online]. [Accessed 1 April 2019]. Available from: https://www.vogue.co.uk/shows/spring-summer-2018-ready-to-wear/gucci/collection

Drowne, K.M and Huber, P. The 1920s. Greenwood Publishing Group. London.

Look 64 Vogue. 2018. Autumn/Winter Ready-to-Wear. [Online]. [Accessed 1 April 2019]. Available from: https://www.vogue.co.uk/shows/autumn-winter-2018-ready-to-wear/gucci

Farfetch. 2019. Farfetch.com. [Online]. [Accessed 10 April 2019]. Available from https:// www.farfetch.com/uk/shopping/women/gucci-basketball-shaped-tote-bag-item-13247126. aspx?storeid=9983&size=17&utm_source=google&utm_medium=cpc&pid=googleadwords_int&af_channel=Search&c=1603618029&af_c_id=1603618029&af_siteid=&af_keywords=pla-385485197661&af_adset_id=66294291252&af_ad_id=305209734641&is_retargeting=true&shopping=yes&gclid=EAIaIQobChMIhPnmxIza4QIV4bDtCh1k7Qg1EAQYAiABEgJEjfD_BwE Fischer, D. 2012. The ultimate Yankee’s Record Book: A complete guide to the most unusual, unbelievable and unbreakable record sin Yankees History. Triumph Books. New York.

Gristwood, S. 2010. Breakfast at Tiffany’s: 50 years on. The Telegraph.

Gucci. 2019. Women’s Sweatshirts & T-shirts. [Online]. [Acessed 12th April]. Available from https://www.gucci.com/us/en/pr/women/womens-ready-to-wear/womens-sweatshirts-t-shirts/ oversize-sweatshirt-with-gucci-cities-p-517139X3M109247 Helmer, D.S, Owens. T. 2000. The History of Basketball. The Rosen Publishing Group. New York.

Hine, T. 1995. Marlboro Country Was Once No Man’s Land. The New York Times.

Lam, T. 2018. Gucci is now selling these Luxe logo stocking garters. Hypebae.

Lester, K. and Oerker, B.V. 2013. Accessories of Dress: An illustrated encycopledia. Dover Publications INC. Mineola, New York. P 303 Neilson, L. 2014. A “Condensed” history of the campbells tomato soup can. Food Republic.

Vision Express. 2019. The iconic appeal of the Cat Eye. [Online]. [Accessed 20 April 2019].

Available from https://www.visionexpress.com/blog/iconic-appeal-cat-eye/ Vouge. 2013. Courtside Fashion: how to be the best dressed spectator. [Online]. [Accessed 5 May 2019]. Available from https://www.vogue.com.au/fashion/trends/courtside-fashion-howto-be-the-best-dressed-spectator/image-gallery/93bfe2619d6c0695ea35ad35baf41c3d

Figures Figure 1:Vogue. 2017. Gucci Spring/Summer 2018 Ready-to-Wear Collection. [Online]. [Accessed 1 April 2019]. Available from: https://www.vogue.co.uk/shows/spring-summer-2018ready-to-wear/gucci/collection Figure 2: Marlboro. 1981. Vintage 1981 Marlboro Cigarettes Print Ad. [Online]. [Accessed 18 April 2019]. Available from: https://www.ebay.com/itm/Vintage-1981-MARLBORO-CigarettesCowboy-Marlboro-Man-Tobacco-Print-Ad-80s-/201936836852 Figure 3: Gucci. 2019. Oversize sweatshirt with Gucci Cities. [Online]. [Accessed 10 April 2019]. Available from: https://www.gucci.com/us/en/pr/women/womens-ready-to-wear/ womens-sweatshirts-t-shirts/oversize-sweatshirt-with-gucci-cities-p-517139X3M109247?position=2&listName=SearchResultGridComponent&categoryPath=Women/Womens-Ready-toWear/Womens-Sweatshirts-T-shirts Figure 4: Marlboro. 1981. Vintage 1981 Marlboro Cigarettes Print Ad. [Online]. [Accessed 18 April 2019]. Available from: https://www.ebay.com/itm/Vintage-1981-MARLBORO-CigarettesCowboy-Marlboro-Man-Tobacco-Print-Ad-80s-/201936836852 Figure 5: Gucci. 2019. Oversize sweatshirt with Gucci Cities. [Online]. [Accessed 10 April 2019]. Available from: https://www.gucci.com/us/en/pr/women/womens-ready-to-wear/ womens-sweatshirts-t-shirts/oversize-sweatshirt-with-gucci-cities-p-517139X3M109247?position=2&listName=SearchResultGridComponent&categoryPath=Women/Womens-Ready-toWear/Womens-Sweatshirts-T-shirts Figure 6: Pinterest. 2019. Renaissance Jewellery. [Online]. [Accessed 10 April 2019]. Available from: https://www.pinterest.at/pin/126593439510132431/ Figure 7: Unknown Artist. 1588. Queen Elizabeth I. [Oil on Panel]. At: London: National Portrait Gallery.

Above: Figure 17.

Figure 8: Gucci. 2019. Oversize sweatshirt with Gucci Cities. [Online]. [Accessed 10 April 2019]. Available from: https://www.gucci.com/us/en/pr/women/womens-ready-to-wear/ womens-sweatshirts-t-shirts/oversize-sweatshirt-with-gucci-cities-p-517139X3M109247?position=2&listName=SearchResultGridComponent&categoryPath=Women/Womens-Ready-toWear/Womens-Sweatshirts-T-shirts Figure 9: Pinterest. 2019. 1921 Ad Topkins Origninal Advertising. [Online]. [Accessed 18 April 2019]. Available from: https://www.pinterest.co.uk/pin/215046950930439258/?lp=true Figure 10: Andrea di Bonaiuto. 1365-68. Way of Salvation. [Fresco]. At. Florence: Campella Spagnuolo, Santa Maria Novella.

Figure 11: Giacomo Cabrini. 2018. Backstage at Gucci AW18. [Online]. [Accessed 27 April 2019]. Available from: http://www.dazeddigital.com/fashion/gallery/24910/13/gucci-aw18 Figure 12: 2 of a Kind Mag. 2017. Audrey Hepburn in Charade. [Online]. [Accessed 5 May 2019]. Available from: http://www.2ofakindmag.com/babushka-style-headscarves-making-comeback/f8ac40c713f5efd766ae37a3966ab28c/ Figure 13: Vogue. 2018. Autumn/Winter Ready-to-Wear. [Online]. [Accessed 1 April 2019].

Available from: https://www.vogue.co.uk/shows/autumn-winter-2018-ready-to-wear/gucci Figure 14: Ruff, J., Cronin, M., New York City Police Museum. 2012. New York City Police.

South Carolina: Arcadia Publishing. P.27, image.

Figure 15: Amazon. 2019. MLB New York Yankees Baseball with Team Logo. [Online]. [Accessed 8 May 2019]. Available from: https://www.amazon.com/York-Yankees-Baseball-TeamLogo/dp/B004T4V7P0 Figure 16: The New York Times. 2010. The inventor of basketball, practices with his wife. [Online]. [Accessed 8 May 2019]. Available from: https://www.nytimes.com/2010/10/26/sports/ basketball/26naismith.html Figure 17: Gucci. 2019. Spring Summer 2018 Fashion Show. [Online]. [Accessed 8 May 2019].

Available from: https://www.gucci.com/us/en/st/stories/runway/article/women-men-springsummer-fashion-show-2018-gallery Figure 18: Gucci. 2019. Paradoxical Creatures. [Online]. [Accesed 8 May 2019]. Available from: https://www.gucci.com/us/en/st/stories/runway/article/fall-winter-2018-details

Above: Figure 18.