宅家也有 Gucci 義式復古花園風，把 Alessandro Michele 的設計帶回家

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2017年 Gucci 宣布正式推出 Gucci Décor 系列，內容包含抱枕、蠟燭、托盤跟壁紙等單品，源自於 Alessandro Michele 出任 Gucci 創意總監前於配飾部門服務多年，熱愛室內設計的他，把夢想、美感與才華在 Gucci Décor 中完美實現，2021年的全新家飾系列再度浪漫登場。

bySky Chen - 16 JUN 2021 更新

Photo／Gucci Décor

Gucci Décor 全新浪漫主義家飾系列

Gucci Décor 家飾透過品牌經典標誌、色彩、圖案與文字華麗的組合，傳達了 Alessandro Michele 義式復古奢華，令人印象深刻的圖案拼貼與繁複刺繡裝飾元素以及圍繞著動物的題材是大眾對於 Gucci 的品牌印象，打破了傳統刻板的家飾設計風格，更邀請消費者自由搭配，提供客製服務，體現了以「個人空間即是表達自我的畫布」的信念，全新浪漫系列宣布販售消息，其視覺畫面於 Museo Atelier Canova Tadolini 博物館拍攝完成，瑰麗的雕塑搭配歷史所建構的時間感，試圖開啟過去與現在的對話，形塑出傳承與自我表達共存的未來，商品全系列皆於義大利製作，也用以致敬偉大的工藝與傳統。

Inside the New Gucci Archive in Florence With Its Maestro Alessandro Michele

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The idea of a journey definitely comes to mind when you tour the archive, which feels like a modern wunderkammer. The Serapis room in particular is rather spectacular : the metallic parallelepipedon at its center opens up mechanically like a treasure chest, revealing inside the bespoke outfits you’ve designed for Bjork, Florence Welch, or Lana del Rey. It’s reminiscent of the stage sets of baroque theater and their marvelous mechanical machines, isn’t it?

A.M. Indeed. The idea of the wunderkammer is linked to that of travel and, yes, the mechanical box is rather theatrical. I think that fashion is a sort of theater—not in the baroque sense of inducing a sense of wonder, shock, and magnificence, but in that fashion is something that moves, it has an inherent movement, it isn’t still. Fashion objects compose and recompose like our lives. The mechanical box in the Serapis room has certainly to do with the stage outfits it conceals or reveals, but it’s also a metaphor of the lives of those outfits, which is deeply linked to that of the women who wore them. And I like things that apparently seem like one thing and then become another. Lately I’ve been giving much thought to the idea of ambiguity, which is fashion’s most beautiful quality. Ambiguity doesn’t only refer to gender; according to its etymological roots, no one is just one thing but every personality is mercurial, changeable. This is the nature of fashion, and the objects housed in this archive are intrinsically ambiguous, they’ve been inherited from the past but they’re present today in their three-dimensional physical form. You can actually touch them, and metaphorically it’s like if you were touching the past, which has a sort of ambiguous, fascinating connotation.

Talking about the past, its value is being questioned today. Young generations seem to acknowledge only the here and now. To know the past doesn’t seem a necessary tool to understand the present. Making Gucci’s history visible to be read and passed on to young generations—was it one of the purposes of opening the archive?

A.M.: I have an everyday dialogue with the past, which for me has full existence and presence. It just doesn’t make sense to say that the past doesn’t have a dialogue with us; if in this instant I go out the door to take a walk in the Santo Spirito neighborhood, I’m surrounded more by what has been than by what will be. The past is an essential, inescapable constituent of the present. For me, the past is the present—this is my constant assumption. In my creative practice I’m not recovering or recapturing the past. I don’t like to say that I’m recovering the past, because this past is a present that I live always. I myself am a past that speaks to today. The elimination of the past, to erase it—it’s an unnatural process. My partner Vanni has made me understand that I’m using the past as a fuel; it depends on which chemical reagent you put it in contact with. For me the past is a formidable entity, I breathe it like something which exists today. The way I use vintage—it’s like a bridge, if I have to cross a river, will I have to have a bridge to reach the place I want to reach, or not? We’re all on that bridge; let’s see where it leads us. So I invite young people not to be fooled by the bi-dimensional life we live today, but to observe things with care, more deeply and accurately. The dialogue with the past generates great seeds of knowledge. The future we all talk about is perhaps less fascinating than the present, which instead is full and rich with experience—every single minute of it. The patrimony of a fashion brand like Gucci… its rich legacy speaks to you. It’s up to you to listen to it or not. But relationships don’t last very long if you don’t listen and speak to each other.

GUCCI珠寶第二彈漫步歡愉花園大自然為靈感幻化永恆經典

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義大利時尚精品GUCCI去年擴大產品規模搶攻高級珠寶市場，推出首季珠寶作品，成果廣受矚目，今年創意總監Alessandro Michele乘勝推出第二季珠寶作品，以拉丁文「Hortus Deliciarum」（歡愉花園）為主題，數量多達130件，且多數是獨一無二之作，展現躋身高級珠寶界的企圖心。

全系列共4個章節

Hortus Deliciarum系列珠寶以大自然為靈感，一日之間不同時刻的醉人光影變化、如萬花筒般的宇宙星宿之美、變化莫測的天空和繽紛妍麗的花園，都成為珠寶的創作元素，再加上創意總監Alessandro Michele新奇夢幻、天馬行空的創意，將大自然神奇美麗的瞬間，化為永恆的經典。

全系列總共有4個章節，第一個章節是瑰麗天然景致的詩歌，以一顆顆鑽石打造如似晶燦的瀑布，或是夜晚星空的點點繁星與流星雨，華麗的流蘇引人入勝的律動感，讓人迷醉，其中一款6.13克拉祖母綠項鍊套組，鮮活青翠的祖母綠鑲嵌於一片鑽石星海中，有如環繞著壯麗燦亮軌道的太陽星系。

第二章節則以一日不同時刻的光影變化美景為靈感，例如利用蛋白石、拓帕石、錳鋁榴石和碧璽，呈現出色彩豐郁、溫暖的天空景致，蛋白石主石在薄暮色調寶石的陪襯之下，創造了令人讚嘆的美景。

第三章節則以風格浪漫的玫瑰花園為主題，正因為每顆寶石都具備神祕的力量，皆是大自然賜予人類的護身符，因此華麗洛可可風格的蝴蝶結、如護身符般的吊墜、盛開玫瑰花心的花瓣等，化身一件件的珠寶隨身佩戴在身上，猶如來自上天的祝福。

獅頭頸鍊氣勢非凡

動物是GUCCI常見的經典元素，神祕的古老神話和動物傳說也成GUCCI珠寶的創作靈感，象徵力量的獅子、代表勇氣的老虎，都讓人愛不釋手，例如一款以22尊獅頭雕像環繞著16.36克拉蛋白石主石的頸鍊，處處流露獅子的尊貴霸氣，展現非凡的氣勢。(中國時報陶福媛)

GUCCI祖母綠項鍊將青翠祖母綠鑲嵌於一片鑽石星海中，有如環繞著壯麗燦亮軌道的太陽星系。圖／GUCCI提供 GUCCI將一顆顆鑽石打造如夜晚星空的點點繁星與流星雨，華麗的流蘇充滿引人入勝的律動感，讓人迷醉。圖／GUCCI提供

GUCCI粉紅色尖晶石白金鑲鑽耳環。圖／GUCCI提供 GUCCI淡紫色粉紅色尖晶石白金鑲鑽耳環。圖／GUCCI提供 GUCCI獅頭黃金鑲鑽手鍊，流露獅子的尊貴霸氣，展現非凡氣勢。圖／GUCCI提供

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