Westminster Abbey

In the face of every player in the luxury world trying to outplay each other with exotic destinations and fine dining experiences to draw press attention away from their lack of genuine innovation, that the house of Gucci will continue to push the boundaries of what we feel aesthetically comfortable with.

Here’s looking at you, purple leggings.

We need not reiterate that Alessandro Michele’s great success with Gucci is his authenticity. Wandering in awe through the marbles tombs of Westminster Abbey, ornate with gold leaf and jewel-tone paint pigments, muted by centuries of respect and worship and soaring ceilings to some invisible and uniting religious force of art and literature and science (interestingly, Charles Darwin included); and then the following morning, enraptured by Botticelli’s glorious depictions of women as deified cultural figureheads and purveyors of luminous skin; one could so clearly establish the connection between the religious iconography, bold primary colours and opulent embellishment of such an iconic church, and its practice’s painterly glorifiers.

Alessandro himself looks and speaks as though he’s been lifted from an early Renaissance Florentine fresco.

Truthfully, it’s moving.

And all spectating at Gucci’s Resort 2017 show in London were certainly moved, if only by their seismic shift in attitude towards electric purple lace footless tights, and the embroidered green cushions that all guests took home from their seats. Even so, having ninety-seven looks walk over the resting places of significant figures in the English Church was not at all perceived an ostentatious display of luxury in the face of history and religion – rather, and a cinematic and amplifying educator to the masses of jaded industry on why we’re in this crazy game. That is, clothing as an expression of art, history and character.

In this instance, Alessandro chronicle the entire history of British costume, which in retrospect, appears to trill a nostalgic swan song to the rising Great Britain that was (before this past week’s disastrous fall) through everything from the Tudors, to Beefeaters, to our beloved English Rose, to newsboys of the

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About

Margaret Zhang 章凝 is an Australian-born-Chinese filmmaker, photographer, consultant and writer based between New York and Shanghai. Since establishing her website in 2009, Zhang has gone on to work with global brands including CHANEL, Swarovski, YEEZY, Bulgari, Gucci, MATCHES, Under Armour, and Louis Vuitton in a wide range of capacities both in front of and behind the camera, while completing her Bachelor of Commerce/Bachelor of Laws at The University of Sydney. Zhang’s directing, photography, and styling has been employed by the likes of VOGUE, L’Officiel, Harper’s BAZAAR, NOWNESS, and ELLE internationally. She has been listed in Forbes Asia’s 30Under30 and TimeOut’s 40Under40, and her work has been recognized as shaping the international fashion industry by the Business of Fashion BoF500 Index for four consecutive years. CNN has identified Zhang as a leading fashion photographer in Asia and ELLE named her the region’s most influential digital voice. She went on to be the first Asian face to cover ELLE Australia. In 2016, she co-founded BACKGROUND, a global consultancy for which she specialises in Western-to-Chinese and Chinese-to-Western cultural bridging for a range of luxury, lifestyle, and brand initiatives. In 2017, she exhibited a series of 39 unseen photographic works as a solo show in Sydney, and premiered her first short film – a 15-minute exploration of her visceral relationship with classical music on both performance and abstract planes – to critical acclaim. In 2018, co-curated the first annual FOREFRONT Summit focused on inter-industry problem-solving at all scales of business. From this king summit, Zhang developed FOREFRONT+ – a round table series of candid conversations covering subject matters of universal concern. In 2019, THE FACE Magazine engaged Zhang as Creative-Director-at-Large for Asia for its relaunch. Zhang is currently working on her first feature film.