The fashion houses usually do not ask reviewers to watch the same show twice. However, for this resort collection, Gachi’s agenda was very high. The reason for this would not be proven that we were watching, but where we were watching it.
For the first time, around 4pm, we joined the Gachi Archives of the Plazo Setmani. In fact, the 15th -century building has been sitting in the southern Oltrono aspect of Florence, and has been the main workshop of Gachi since 1953. He had a Goki showroom when Tom Ford was wrapped in the 1990s. And then in 2021, to agree with Gachi’s centennial, it was re -presented by Elsendro Michelle as a home -protected document.
In addition to the reviewers, the first show was specifically for VICS: the party that is the most true for the House. We once had a Ford showroom, and it got a chance to check the display of bamboo bags. Above, the silk cabinet I remembered was watching four years ago that it was removed to allow a runway floor to be set up, whose surface was a rotating mirror.
The reflection of the collection we have seen above is a gathering of a number of past stages of the past. The spirit that guided it was at the end of the mid -century was the jet set glamor, which was identified by Ford in the DNA of the house, then changed the dust during his time. The maps of his successor’s successor and the deep neck line around the Sicken Gown were further laminated brush strokes around the Sicken Gown. Michelle’s bow and maximum lush, Gianin’s footed sleek pin, pure sample of D Srino and masculine leather outer clothing. There was a more widely hypertensive, almost as a cinema, a widespread feminine bourgeois fall, which sometimes descended near Saini as he did with Arno.
After this first show, Gachi CEO Stefano stood on the Cantino Runway. He revealed that, from afar, the upcoming artistic director of Gachi was Demna – as you expect – will be well aware of its development even if not yet formally in charge.
After a few hours, after a short rains that gave the ghee staff to the jiters, we returned to another show. It faced a lot of public level: an audience that was included in the documents stored by Paul Messy, Viola Davis, Julia Garner, and Jeff Gold Blum. However, instead of joining them, we were shown the locations of a public square, Paza Sanato Spitto, a public square, around the corner around the corner for the second time. That is why the rains were so worrying: There were several staff of the rods and cafes sitting in the square bars and cafes, and a healthy crowd of Fluorin fashion fans was watching from the bottom of the Baselica. First we heard the Anno Moricone Sound Track from inside the saved documents, before the model Via Dale appeared around the corner of the Callide, crossing the rocks of the faded flags and around the torn fountains.
Finally, our dual exhibition was to demonstrate the intention of reviving this archive of Gachi. The collection of this studio worked to insert Gachi’s past freshly present and, by doing so, in some yet visible style, also presented his future.
