Gucci Modern Band

Long before trend-bucking creative director Alessandro Michele brought his hallucinatory “Utopian Fantasy” campaign to Gucci, it was a modest Italian leather shop. Today, it’s an internationally renowned luxury house with an iconic logo, and vintage Gucci clothing, handbags and shoes are among high fashion's most covetable goods.

Guccio Gucci (1881–1953) admired the stylish suitcases he saw wealthy guests arrive with at the Savoy Hotel in London, where he worked as a bellhop. So, in 1921, after a stint at Franzi, a luggage company in his hometown of Florence, he opened a leather goods shop of his own.

At first, Gucci’s Florence business specialized in equestrian accessories. But as its reputation flourished, particularly among the English aristocracy, so too did its footprint. In 1938, he brought three of his sons — Aldo, Vasco and Rodolfo — into the business and expanded it to Rome and later Milan. In the mid-1930s, a League of Nations embargo against Italy pushed Gucci to experiment with alternatives to imported leather. Its woven hemp fabric from Naples, adorned with the brand’s signature diamond print, was a hit, especially among A-list celebrities. The material was first used on suitcases before finding enduring popularity on handbags. (No list of revered designer purses would be complete without Gucci.)

In the 1950s, Elizabeth Taylor carried one of Gucci’s bamboo-handled tote bags, another adaptation to material rationing. After Jackie Kennedy was seen sporting a slouchy Gucci tote in 1961, it was renamed for the First Lady. Then Grace Kelly, on a visit to the boutique in Milan, inspired Rodolfo Gucci to work with Italian illustrator and Gucci textile designer Vittorio Accornero on the Flora print in 1966. Taking cues from Sandro Botticelli’s Primavera, with its pattern of flora and insects, it was painted entirely by hand and featured no fewer than 37 colors.

In 1953, just 15 days after opening his first store on New York’s 5th Avenue, Guccio passed away at 72. The early 1970s saw store openings in Tokyo and Hong Kong, but by the late 1980s, Gucci was floundering. Rodolfo Gucci took charge in 1982, but family drama and lawsuits ensued. In 1993, Rodolfo’s son, Maurizio, transferred his shares in the company to Investcorp, ending the family’s involvement in Gucci. Dawn Mello, then-president of Bergdorf Goodman, joined as creative director in 1989. But it was Tom Ford, who took over as creative director in 1994, who ultimately revived the brand.

Ford’s racy ads, shot by photographers such as Mario Testino, stirred controversy. And his potent vision of sexed-up femininity — with “jewel-toned satin shirts unbuttoned to there,” as Vogue described his breakthrough 1995 runway show — was wildly successful. The new millennium brought new ownership — Pinault Printemps Redoute in 2004 — and a more toned-down vision from Frida Giannini, who became sole creative director in 2006. Alessandro Michele was named creative director in 2015, and the storied brand took a giant leap forward.

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Rooted in centuries of history of adornment dating back to the ancient world, modern jewelry reimagines traditional techniques, forms and materials for expressive new pieces. As opposed to contemporary jewelry, which responds to the moment in which it was created, modern jewelry often describes designs from the 20th to 21st centuries that reflect movements and trends in visual culture.

Modern jewelry emerged from the 19th-century shift away from jewelry indicating rank or social status. The Industrial Revolution allowed machine-made jewelry using electric gold plating, metal alloys and imitation stones, making beautiful jewelry widely accessible. Although mass production deemphasized the materials of the jewelry, the vision of the designer remained important, something that would be furthered in the 1960s with what’s known as the “critique of preciousness.”

A design fair called the “Exposition Internationale des Arts Décoratifs et Industriels Modernes” brought global attention to the Art Deco style in 1925 and gathered a mix of jewelry artists alongside master jewelers like Van Cleef & Arpels, Mauboussin and Boucheron. Art Deco designs from Cartier and Van Cleef & Arpels unconventionally mixed gemstones like placing rock crystals next to diamonds while borrowing motifs from eclectic sources including Asian lacquer and Persian carpets. Among Cartier’s foremost design preoccupations at the time were high-contrast color combinations and crisp, geometric forms and patterns. In the early 20th century, modernist jewelers like Margaret De Patta and artists such as Alexander Calder — who is better known for his kinetic sculptures than his provocative jewelry — explored sculptural metalwork in which geometric shapes and lines were preferred over elaborate ornamentation.

Many of the innovations in modern jewelry were propelled by women designers such as Wendy Ramshaw, who used paper to craft her accessories in the 1960s. During the 1970s, Elsa Peretti created day-to-night pieces for Tiffany & Co. while designers like Lea Stein experimented with layering plastic, a material that had been employed in jewelry since the mid-19th century and had expanded into Bakelite, acrylics and other unique materials.

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