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敬请期待中文版  From theGucci archive, then-Creative Director Tom Ford takes a bow on theGucci catwalk in 1996 Picture credit: Gucci THERE IS THAT LINGERING SCENT of sex, languid poses andflesh revealed through windows on the body - not least right downthere, where a G for Gucci was once artistically shaved or leatherG-strings were worn by both sexes.  The Guccicampaign for Spring/Summer 2003 Picture credit: Mario Testino Tom Ford is back at the brand he re-invented in the 1990s andwalked out of 12 years ago. After leaving a gaping hole in itshistory, the Gucci Museum in Florence unveiled two new rooms today:one with sensual, wine-red velvet walls; the other with abackground of padded, pink boudoir satin.  A displayfrom the new Tom Ford rooms at the Gucci Museum inFlorence Picture credit: @SuzyMenkesVogue  Thenow-iconic white peephole dress featured in the Autumn/Winter1996-97 campaign Picture credit: Mario Testino The 54 outfits, from slithery white silk jersey to chubby fursin rainbow colours, have been personally chosen by current Guccidesigner Alessandro Michele, who was chosen for the Gucci creativeteam by Ford himself. The designer, who is now 54, has not only setup his own line but has also become a Hollywood director.  A panaromaof one of the the two new Tom Ford rooms at the Gucci Museum inFlorence Picture credit: Gucci  A displayfrom the new Tom Ford rooms at the Gucci Museum inFlorence Picture credit: @SuzyMenkesVogue Michele, who led the return of the Ford name to Gucci, has alsochosen a display of accessories from the Tom Ford era, including aseries of "Jackie O" bags (because Jacqueline Kennedy Onassis worethe original 1960s and 70s versions) and a peacock feather bag from1996.  A displayfrom the new Tom Ford rooms at the Gucci Museum. On the top shelf,the "Jackie O" handbags that the designer made popularagain Picture credit: @SuzyMenkesVogue Such was the rancour between Ford and owners PPR (now Kering),and zero recognition from following Creative Director FridaGiannini, that previous visitors to the Florentine museum,opened in 2011, saw only Gucci florals, for scarves and dresses;the vast range of hand and travel bags; Frida's celebrity gowns -and a 1979 Gucci Cadillac Seville, with the double "G" of the Guccilogo monogrammed on the hood, the vinyl roof, and headrests. In thelong history of Gucci, founded in 1921, Tom Ford was not oncementioned.  A campaignfor the Spring/Summer 2003 collection Picture credit: Mario Testino But now those glory years are back and central. The theatricaldisplay, with digital images and details, do justice to thedesigner whose re-invention of Gucci as a land of nocturnal figuresintertwined in narcissistic lust brought fortune as well as freshfame for the fading brand.  A campaignfor Autumn/Winter 2001-2002. The Tom Ford era was marked by anexuberant youthful and sensual look Picture credit: Terry Richardson All the Tom Ford iconic pieces are here, from sensual satinblouses to jeans, made for an ad campaign, with Santa Fenative-American beading.  Navajo-embroideredjeans made especially for the ad campaign Picture credit: MarioTestino  Kate Moss inthe teal satin shirt and velvet jeans that sold out in seconds fromthe Autumn/Winter 1995-1996 collection Picture credit: Gucci The mind is in overdrive with memories of how imaginativestylist Carine Roitfeld and über-photographer Mario Testino helpedFord present fashion in the 1990s as the antithesis of MiucciaPrada's deliberately ugly aesthetic.  LindaEvangelista wears a now-legendary mini slip dress from theSpring/Summer 1996 collection Picture credit: Gucci Why does it matter that the decade-long Tom Ford reign - he wasmade Creative Director of Gucci in 1994 and left in 2004 - shouldbe presented in the brand's history? Is it because the Texan-borndesigner had put the failing Italian label back on the fashion mapand increased sales by 90 per cent? The real significance of that period is that it now looks likethe beginning of something important in the international fashionworld: the start of "designers for hire".  TheAutumn/Winter 1996-97 campaign Picture credit: Mario Testino What then seemed unbelievably shocking - the departure of acreative figure apparently attached at the naked hip to the brand -is now commonplace. The presence in Florence of Raf Simons, ayear ago the Creative Director of Dior, but now poised to take overat Calvin Klein in New York, shows just how this game of designermusical chairs is being controlled by the creatives.  Risquéaccessories on display at the new Tom Ford rooms at the GucciMuseum Picture credit: @SuzyMenkesVogue Significantly, Gucci's current designer is an enthusiasticsupporter of the Ford comeback to the museum. Although his style isso radically different from the Ford years - decorative, detailedand the models almost nerdy - Michele accepts that there can bedifferent aspects under the same label.  A chocolateand white velvet evening jacket from the men's Autumn/Winter2000-2001 collection Picture credit: Gucci And that is the message coming out loud and clear as "swap tillyou drop" has become the current mantra for design houses,replacing loyalty with opportunity in the luxury fashion world. Visit the Gucci Museo at Piazza della Signoria,10, 50122 Florence (www.guccimuseo.com) (责任编辑：admin) |