Worn denim, the basis of Michele, was decorated in Gucci style with embellished gemstone embellishments on the outside of torn shorts and baggy jeans. Shaggy faux fur hung from the frame of the model like the ears of an Afghan hound, while lush sewn-on black and tweed specimens were dressed in shimmering chain mail capes, and downstairs in plain powder-blue work shirts.
The gathering was also a siren call to the peacocks of the world. Of course, there were some exquisite knitwear on display – a rugby shirt with cut sleeves and voluminous cashmere checkered pants – but in general the collection marked a deliberate return to elevated elegance, the mood only intensified against the dramatic background of the show.
The collection also returned to some of Michele’s classic touchstones. The designer admires the golden days of the British aristocracy (he showed off his 17th cruise collection in Chatsworth, the birthplace of the Duchy of Devanshire, and the Mitford sisters, respectively), and the Cosmogonie collection resembled the Wardrobe of Dreams for the early 20th century debutante ball. In fact, the theme of the weekend in a country house was so well developed that the collection even featured a pair of voluminous diamond quilted jackets, of course, with spacious sewing of the seventies and embroidered beads of Greco-Roman sandals.
Much of the equipment in the collection, from diamond-encrusted nose chains to a denim chandelier, seemed inspired by a constellation of ideas present in Benjamin’s work: magpie-style side dishes paired with austere clothing.
“The constellation for Benjamin is a sudden appearance full of tension,” Michele wrote in his notes. “This is what stems from the ability to make connections between fragments of worlds that would otherwise be scattered: the feverish dust of quotes that burns in the possibility of contact.”
Initially, this story continued British GQ with the name “Gucci Cosmogonie: Bright new constellation for the fashion fortress”