Located in the heart of Florence, the Pitti Palace recently embraced the first designer to present in the city since Tom Ford in 1995.

By Brenna Dixon

Amongst the shadows of Caravaggio and Tintoretto’s dramatic use of light, the ordained beings created by Alessandro Michele emerged gracefully as if stepping out from one of the exquisite frames.

Michele pays homage to the cultural evolution of creativity and beauty from the Italian Renaissance, which is deeply instilled in Florence’s aestheticism, its people and in the brand.

As revolutionary as the artwork hanging in the Palatina Gallery, Michele presented his unconventional amalgamation of styles, fabrics and gender roles. Due to the ultimate line stepper’s romantic rebellion, it has yet again thrust the brand into the fashion spotlight.

The prelude to the event was as euphoric as the show itself as guests were led through the Vasari Corridor. The elevated walkway (typically off limits to the public) was created as a passage for the Medici Family, allowing them to pass unbothered by the public to the Palazzo Vecchio, onwards to the Pitti Palace before finally reaching the Pitti Gallery.

Gleaming and glittering, the dreamy eccentric collection created a blissful world once again for the maison. No elaborate detail was placed randomly as every component of the collection was more unbelievable than the next, from a pearl-framed face to a complete encrusted headpiece.

Remarkable garnishes flanked gender ambiguity, a staple for the designer, as models flaunted florals, pinks and tapestry prints interchangeably. Pop reference like “GUCCIFY” and a real fake beaded chest piece reading “GUCCY” glided smoothly between griffed fur coats, sporty metallics and renaissance recalls.