The cruise show might be themed along the lines of the origins—or structure—of the universe, but that does not mean there is reference to an orderly, harmonious system. As usual, bright was the flashy chaos

The cruise collection is increasingly less about the clothes that one can pack for a holiday than what can be kept in a wardrobe for the day when a statement-making outfit is needed. Gucci’s latest offers scant semblance of what might be reserved for the Viking Orion or anything akin to a holiday in the sun (perhaps, some of the sheer pieces could be worn down at the beach?). But, based on its theme, Gucci Cosmogonie, could these clothes be offered to the suitcase destined for the SpaceX or even the International Space Station, if it could one day be a tourist hotspot? Frankly, it is hard to say. For all the cosmological references and whatever could be up there, the clothes look decidedly bound for some corners of our earth, where burlesque is the main business. Or, could the substantial near-nudity be at one with the universe?

Staged in Castel del Monte (Castle in the Mountain), Andria, southern Italy, the show— soundtracked by mixes of the recording of the first moon landing and Abel Korzeniowski’s Charms (from Madonna’s 2012 film WE)—is a moody celebration of meretricious Gucci, presented against projections of old constellation maps. The Castel was established in 1240 by the medieval emperor Frederick II, who reigned over a court of elites, from artists to astronomers. It is not really determined if this was a spot to observe and study celestial bodies, such as the Castillo in Chichén Itzá, Mexico was, but its very geometry (octagonal) and symmetry, with corresponding eight towers, even on a mount, seem to suggest something more secular. “Castel del Monte”, according to Gucci, “perfectly represents a crossroads of the different peoples, cultures, civilizations, and religions that have shaped the Mediterranean.”

The collection sure seemed to be for a melting pot of different people—or, to be more precise, characters. In his early years at Gucci, Alessandro Michele had proposed a sort of sexy-prim: the off-duty librarian look (some say secretary). Through the years, while he has given the impression that his mind is among books, his designs target less those with a penchant to visit a serious bibliotheca than someone else with a far more hedonistic or sensualistic pursuit on extra amusing and entertaining grounds. The librarians have become party girls, disco dollies, sexy starlets, exotic dancers, nocturnal adventurers, red carpet walkers, hookers, rapper-as-hookers, gleeful exhibitionists, and more. Therein lies the beauty of Gucci, if not in the design, definitely in the looks: eternally hedonistic. Now, hedonism is not necessarily a bad thing, especially if we go by the Greek definition—looking to get as much enjoyment out of life as possible.

It is, of course, preferable to dress as if an individual’s life is one of delight and pleasure than misery and depression. And Gucci offers clothes that project that plentifully. If Mr Michele has toned down the overt retro-ness of previous collections, he has also turned up the ostentation, augmented by faces underscored by ruffs, necks adorned with ropes of pearls, and faces marked by Indian naths (nose rings), except that the chains appear to be attached to the mouth. It is the flashy and the fleshy. One outfit, in particular, would delight Nicki Minaj and her rapper-sisters, even if somewhat belatedly: a one-sleeve top that covered half the upper body diagonally, leaving one nipple the protection of a pastie. In fact, much of the outfits ask for the dispensing of the bra.

Apart from the many sheers numbers (which, to be sure, have been there since Mr Michele’s first collection for Gucci in 2015), Mr Michele has offered, modestly, the opposite: construct of something measured but no less exquisite and polished. One ecclesiastical gown (worn with a choker made of strands of pearls and a necklace that could have come from some papal stash) would not alienate even Lily Tomlin. There’s a tailored, long-sleeved Op-Art dress (with ruffs for cuffs), the oblong, cinched-at-the-waist blouse (worn with a pleated skirt) and the ’40s-looking skirt suit (with the red shoulder piece) that an ex-wife might wear to court to (counter) sue her former husband. But, these are, as you would agree, few and, celestially far between.

Screen shots (top) and photos: Gucci