Pyjama vintage GUCCI (Italie), soie, crâne et serpent brodé

SUNDAZED & OUTSIDE SOCIETY

...This Gucci satin-weave jogger enacts a studied choreography of contradiction, fusing the skeletal vernacular of mid-century athleticism with the symbolic density of post-streetwear luxury. Constructed from a densely woven acetate-blend satin engineered for reflectivity, the fabric resists collapse even as it drapes, sustaining a sculptural silhouette with architectural clarity. Its liquidity is not a passive sheen but a choreographed surface—flattened into deliberate volume, choreographed into optical tension. This material behavior recalls the ascetic textile minimalism of Auralee and the compositional integrity of Loro Piana, yet it more pointedly echoes Namacheko’s chromatic terrain, wherein fabric operates less as pliable matter and more as conceptual environment: dense, inert, cerebral. The jogger’s silhouette—elasticated ribbed waistband, tapering leg, rigid side stripe—gestures toward the archetype of retro sportswear but deliberately resists its functional lineage. It recasts the familiar template through symbolic inversion: movement indexed but denied, structure simulated but immobilized. The satin’s high-gloss surface evokes the inner linings of formalwear and the nostalgic sheen of vintage tracksuits, suspending the garment in a liminal state between ceremonial grandeur and athletic memory. This dialectic—between recognition and abstraction—finds resonance in Rick Owens’ theatrical spatial volumes and Kiko Kostadinov’s tailoring strategies, where the body is diagrammed, not liberated. It is further contextualized by Maison Margiela’s archive-fueled subversion of typology, where garments signify through distortion rather than function. Grosgrain side stripes, rendered in tricolor embroidery, operate not as kinetic cues but as archival glyphs. These seams segment the body like punctuation marks—mapping movement as memory rather than velocity. The effect is diagrammatic, not performative: schoolboy regimentation, vintage Adidas heritage, and militarized pageantry encoded into a static seam. This is not decoration but structural semiotics, where each line inscribes a visual order. The logic mirrors Post Archive Faction’s kinetic symmetries and Coperni’s aerodynamic blocking, albeit here slowed and burdened by the satin’s substantial weight. Speed becomes a visual charge, not an enacted state—a spectral reference to motionless acceleration. Chromatic rupture at the waistband—burgundy interlocking with navy—constitutes a deliberate fracture in the garment’s visual syntax. It interrupts the satin’s optical continuum, creating a hinge of disruption that reframes the jogger laterally. This color collision, architecturally precise, functions akin to Giorgio Armani’s sport-formal hybrids of the 1980s or Neil Barrett’s tactical monochromes, while also channeling the ironic theatricality of Mowalola’s genderless futurism. It is not ornament, but disruption: a visual node around which the garment’s symbolic framework pivots. The chromatic dissonance echoes the tailored disarray of Barena Venezia and the post-Americana dismantling of Kapital, where color is used as grammar rather than embellishment. The garment’s symbolic density is reinforced through clear brand echoes—each reference strategically deployed to compound, rather than diffuse, its conceptual load. Raf Simons’ encoded youth formalism and Stephen Sprouse’s glam-punk interventions underscore the jogger’s referential tension, while Camiel Fortgens’ abstract distortions of mundane typologies and Feng Chen Wang’s modular garment logic elevate it from sportwear to proposition. Ts(s) and Wood Wood, through their modular tailoring architectures, translate casualwear into spatial diagrams, while Craig Green’s imposition of structural rigidity onto soft substrates mirrors the jogger’s vertical discipline—gesture frozen into line. Songzio’s monolithic figural compositions and Sankuanz’s tactical semiotics similarly refuse the binaries of function and form, enabling garments to operate as critical syntax. It is within this framework that Gucci’s authorship becomes paramount. This is not athleticwear rendered luxurious, nor luxury masquerading as streetwear. Rather, it is an orchestrated semiotic performance—a garment that mocks authenticity while obsessively staging its own elevation. It is wholly embedded in the post-2015 Gucci paradigm, wherein reference is not honored or subverted but theatrically reassembled with calibrated irreverence. Prada’s long-standing sport-as-art dialectic and uniform-as-irony philosophy find a direct echo here, as does Daniel Lee’s cold material dramaturgy at Bottega Veneta, where gloss was de-sensualized and edge was calculated rather than indulged. C.P. Company and WTaps inscribe the garment into a post-militarized urban vocabulary—design systems that prioritize silhouette, texture, and referential codification over direct use. The piece thus inhabits a lineage where movement is implied but never enacted, where the jogger functions not as a conduit of activity but as a thesis of its symbolic afterlife. In the most distilled sense, the garment does not move—it performs the memory of movement. Like Hedi Slimane’s Dior Homme and Celine-era ideograms of youth, this jogger renders the body into diagram and tension into silhouette. Ultimately, this is not a jogger, but a codex of hybrid memory—an artefact in which typological familiarity, functional implication, and sartorial theater are fused into a singular aesthetic proposition. Through the deliberate convergence of brands—Auralee, Loro Piana, Namacheko, Rick Owens, Kiko Kostadinov, Margiela, Camiel Fortgens, Feng Chen Wang, Coperni, Prada, Bottega Veneta, and Craig Green—the jogger becomes a formal argument: that in contemporary garment logic, textile is proposition, silhouette is diagram, and function is simulated only to be withdrawn. The result is motion without utility, utility without comfort, and a sheen that cloaks not the body, but the cultural contradictions it inhabits.

Brand: GUCCI
Origin: Italy

Vintage (no flaws)

Look: Absolute Individuality of the Self
Department: Men
Tag: 52
Size: XL
Color: Black
Fabric: Satin
Material: Acetate
Pattern: Balanced Stripe
Style: Jogger
Leg: Tapered
Front: Flat
Rise: Mid
Body: Oval
Waistline: Elastic
Closure: Zip Fly
Pockets: Inseam
Accents: Embroidered

Measurements (cm)
Waist: 43
Outseam: 84
Inseam: 60
Opening: 19

SKU: 000229

€ 97.49