Gucci Art Nouveau

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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Art Nouveau — generally considered to have begun in the late 1800s and ended with the start of World War I — was a movement in the decorative arts that drew inspiration from natural forms, such as trees, flowers and, of course, the human figure. The three main themes present in Art Nouveau jewelry and watches were flora, fauna and women.

Art Nouveau, which reached its pinnacle in the year 1900, spawned from artists who rejected the historicism of their predecessors to create an entirely new visual vocabulary. As compared to Art Deco jewelry’s geometric patterns and sharp lines, the extravagant style of antique Art Nouveau jewelry is characterized by curvilinear forms and whiplash lines, vibrant materials and dramatic imagery.

The first art and design movement of the 20th century, Art Nouveau was also a reaction against the Industrial Revolution, and took its inspiration from the theories of the Symbolists, the art of the Pre-Raphaelites, the ideas of John Ruskin and his follower William Morris and, most importantly Japanese crafts. (The country was a fertile ground for inspiration after it was opened to the West in 1854.) The Art Nouveau style touched all manners of the arts, including the most exultant jewelry.

Nature was a favorite muse for artists going back to the 18th and 19th centuries, but in the hands of 20th-century artists, it was depicted in new ways. For example, a withering flower was considered just as beautiful as one in full bloom. Winged creatures, such as insects and birds, were also a popular subject. Dragonflies and butterflies were particular favorites because they morphed so dramatically in different life stages.

This was also a reference to women, whose role in society was evolving. It was not uncommon to see a piece of jewelry that would at once reference a woman as a winged creature (think René Lalique’s famous Dragonfly brooch, circa 1897–98, at the Gulbenkian Collection in Lisbon). However, just as women’s roles were ambiguous, so was their image, as the femmes nouvelle were simultaneously eroticized and romanticized.

In addition to Lalique, vital figures in Art Nouveau jewelry included Louis Comfort Tiffany in the United States, Vladimir Soloviev, who designed jewelry for Peter Carl Fabergé in Russia, Fuset Grau of Spain, Karl Rothmuller of Germany and Philippe Wolfers of Belgium.

Art Nouveau jewelers used every “canvas” imaginable, looking beyond brooches and necklaces to belt buckles, fans, tiaras, dog collars (a type of choker necklace), pocket watches, corsages and hair combs. Multicolored gems and enamel could complete this vision better than diamonds. Jewelers also favored pearls, particularly baroque pearls, for their large size and irregular shape. However, opal was the most popular stone — its iridescence harmonized perfectly with the enamel, and it could be carved into any shape. Art Nouveau jewelry was primarily set in yellow gold.

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