![]() So we started working on it, giving it back its dignity, because this is a sancta sanctorum it was here that Gucci’s fire started burning, so to speak. It was like having a Caravaggio painting hung over the sofa at home, thinking it was a copy-but it was actually the original! When I became creative director, Marco Bizzarri asked me, what do you want to do with it? I’d been waiting for that question. ![]() ![]() There was a sort of misunderstanding between the company and this beautiful place. Now, across its five floors, it displays rows of Bamboo and Jackie bags, elegant travel trunks from the ’30s, ’40s, and ’50s, bizarre lifestyle objects, the famous Flora foulards with the original hand-drawn sketches by illustrator Vittorio Accornero, and, but of course, Alessandro Michele’s hyperbolic creations for the likes of Björk and Florence Welch.Īlessandro Michele: When I arrived at Gucci, this palazzo in Via delle Caldaie was dormant, no one had any idea what to do with it. Gucci acquired the aristocratic Palazzo Settimanni in 1953 throughout the years, it has served as a factory, a workshop, and a showroom. Housed in the Palazzo Settimanni, a Renaissance gem located in the lively Oltrarno neighborhood of Santo Spirito, it has been meticulously restored to its original splendor and refurbished to house the brand’s vast collections. As a cherry on the birthday cake, the Gucci Archive has just opened in Florence. A cultivated and eclectic collector and lover of archeology, Michele’s constant dialogue with the past has shaped his work at Gucci, whose 100th anniversary has been celebrated this year. According to Gucci’s Alessandro Michele, archives are living organisms, not mausoleums or frigid clinical spaces where a brand’s history is kept frozen and mummified.
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