Alessandra Fachinetti is stuck between a rock and a hard place. On the
one hand Gucci bosses are pressuring her to achieve Ford-era profit margins
and on the other hand fashion editors are criticizing her for not conceiving
ingenious collections free of her former boss’ influence. However,
a quick history lesson will remind us that Fachinetti trained under the
wonder boy from Texas before being promoted to design for perhaps the
most recognizable luxury label in the world. Hence, it should come as
no surprise when Alessandra’s conception of sexy is heavily influenced
by her earlier education. Further, even if Ms. Fachinetti were to cloak
Gucci in a new mantel, would consumers buy it? Then the real question
we must ask ourselves is, “Are we ready for post-Ford-um?”
The naissance of the Gucci show came with a black cashmere
coat with a high stand-collar, low slung self-rouleau belt and embellished
epaulettes. Subsequently, Ford fashion staples like, skin-tight drain
pipe trousers, voluminous blouson shirts, romantic silk neck-tie blouses,
polished tailored jackets, and luxurious shearlings, made their appearance.
Black dominated the color palette, while with splashes of silver, white
and gunpowder Fachinetti’s futile efforts gasped for air.
when the designer tried to reinterpret her legacy in the form of silk
jersey key-hole dresses, off the shoulder empire waist chiffon gowns
and form fitting evening pieces with re-embroidered lace bodices her
work appeared at its most desperate. Redressing the past is not the
solution to Alessandra’s problem. What Gucci needs is a clean slate.
Going back to my earlier question, “Yes, we have been ready all
along.” Except, with every passing season it seems like Fachinetti
is not the gal to pull this off.
As Alessandra’s artistic vision
is obviously convoluted by her apprenticeship, Robert Polet needs to
recruit a Young Turk, who can exorcise the past and breathe fresh air
into the brand.