Gainsbourg Icon. Serge Gainsbourg, the bad boy of french pop, was said to be arrogant and violent and that his lifestyle dissolute; the label of “beautiful and damned” doesn’t fit him that much, because he was certainly not “beautiful”. But “damned”, probably, yes. Anyway the unkempt appearance it’s still somehow quite attractive related to the idea of a kind of devious and eccentric men, defined as artists and uncommon person, so that he’s become a real icon, and his style it’s being re-proposed to represent a certain nonchalant fashion. Tom Ford In 2002, during his time as creative director for Gucci, designed a collection feauturing extremely comfortable silhouettes made from soft and fluid fabrics like jersey and wool cloth. Although the reviews were enthusiastic, the collection didn’t have the expected results. The same thing happened, more recently, for Zegna collections by Stefano Pilati. I have already written about how oversize fashion still can’t find its way to the general public’s heart, for now. I personally like it, but I recognize its limits.

Le campagne pubblicitarie più belle della stagione si confrontano su due tematiche/approcci diversi. Puntano sul colore vivo e sull’ effetto opulenza anticrisi (Versace, Lanvin, Bottega Veneta); o viceversa scelgono un cöté più “understatement” che ha come soggetti, però, personaggi dello star system (Dolce&Gabbana, Lacoste, Prada) o dello sport (Dunhill); oppure, più semplicemente, workers (MCS Marlboro Classics).
The best advertising campaigns of the season are confronting each other on two different kind of approaches. With anti-crisis opulence and bright colours (Versace, Lanvin, Bottega Veneta), or viceversa leaning on the side of “understatement” but choosing sobjects directly from the star system, (Dolce & Gabbana, Lacoste, Prada), the sport scene (Dunhill) or more simply, workers (MCM Marlboro Classic).