All the opening looks by Gucci designer Frida Giannini had a domineering silhouette; broad shouldered bomber jackets, cut short to elongate the waist, grand herringbone coats, paired with taut culottes or cigarette pants and tough chic boots.
The heart of the matter were the power-shouldered bomber jackets, made in wolf, mink, leather or astrakhan, wildly expensive and easy to wear everywhere from the lobby of The Palace Hotel in St Moritz or on a chilly walk from the cab past the red velvet ropes at Bungalow 8.
The Gucci designer's confession that her inspiration was Lee Miller, the brainy model who was the lover and preferred subject of Man Ray, underlined how much this collection was targeted at independent free thinkers rather than the party tigresses that were once the key consumer of this brand.
Brazilian uber babe Raquel Zimmerman kicked off the action, one of many blondes that powered down the carefully laid stone catwalk. Their long coiffed, curled at the end hair recalled Veronica Lake, though Giannini had other ideas: "More Kim Basinger in LA Confidential."
Giannini's dresses were more erratic – a series of early leaf-patterned chiffon looks looked more flimsy than feminine. Yet the same pattern in black looked suitably sassy in one robe and even better in fabric bags.
Giannini's ability to keep the cash registers ticking chez Gucci depends greatly on her skill with accessories and this season she came up trumps, especially with the new snub-nosed spiky heels or jaunty buckle boots, and a miniature antler detailed bracelets and arm bands.
In a sense, the biggest news was that Halston took a hike at Gucci this season, where Giannini's vision of Italian luxury was far removed from the international, sexually-obsessed chic that was the hallmark of Tom Ford.
It helped that the tiny details were mostly right – a savvy casting and some great theatrical lighting. The music, however, a retread of Kate Bush, felt all wrong, aging the contemporary moment.
But the finale – a half dozen black chiffon columns demonstrated that Giannini's has developed some mean cutting skills. Sculpted to the body, cut with a deep gorge and finished with diamante clasps and shoulders, they all had polish and pizzazz.
Ironically, Giannini's very commercial success has meant, unfairly, that she's still rated by many people as someone who styles with garments rather than designs great clothes. This show should end that argument. Just like Lee Miller, Frida Giannini does cut it, and how.
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