An accessory is, if approached correctly, an anachronism—an artifact plucked from time that links another world to this one. Few are as lore-laden as the Gucci silk scarf. An embodiment of the iconic fashion house’s devotion to craftsmanship and spirit of reinvention, it seems to belong everywhere at once—cinched at the neck of a 1970s screen siren, knotted on the handle of a Milanese grandmother’s handbag, draped across the shoulders of a ’90s “It” girl.
To illustrate their timeless appeal, artist, writer, and longtime friend of the house Jenny Walton took some of her favorites for a stroll on the streets of Milan.
The story of the scarves begins in the late ’50s, when the house began working with the silk artisans of Como, Italy. The initial design, “Tolda di Nave,” depicted a world of nautical escapades—a nod to the life of leisure to which Gucci’s earliest clientele were accustomed—but it was “Flora” that truly made history.
“The genius of a silk scarf lies in its versatility–you can do almost anything with them.” —Jenny Walton
Commissioned from Italian painter Vittorio Accornero de Testa in 1966 as a tribute to Princess Grace of Monaco, the motif bloomed into Gucci legend: 27 flowers, berries, and butterflies etched with such exacting delicacy that it required 37 layers of color to bring them to life.
Today, these and countless other silken heirlooms are preserved within the halls of Palazzo Settimanni, Gucci’s archive in Florence. Nestled in the Santo Spirito district, the 15th-century palazzo (once a factory, showroom, and atelier) now serves as a living repository of the house’s artistic evolution.
“When I moved to New York, I remember seeing vintage Gucci scarves in the antique markets. I fell in love with these vibrant objects that were so delicate, yet so bold.” —Jenny Walton
Its first floor is dedicated to textile creations, home to a selection of scarves that embody seven decades of the house’s collections—including the horse-bit and Gucci web, motifs of the house’s equestrian heritage; the legendary GG monogram of the late ’60s; the lush, jungly “Animalia” prints; and the “Marina Chain” pattern of looping golden links—their patterns preserved as blueprints.
This archive offers a well spring of inspiration for new initiatives—like the 90x90 project (named for the dimensions, in centimeters, ofthe scarf itself) that invites a selection of artists to reinterpret the house’s classic patterns. It’s also the subject of a new volume from Assouline, Gucci: The Art of Silk, which traces the history of the scarves while offering anever-before-seen glimpse into the house’s archive. The sumptuous tome’s cover is, of course, the iconic Flora print.
“Flora, to me, is the quintessential Gucci scarf. Those who live in cities rarely encounter such an overwhelming feast of color. It's this wonderful balance of excess and simplicity—extravagance contained in a silk square.” —Jenny Walton
Whether on the street, the runway, or in the archive, the lineage of Gucci’s silken creations is in constant dialogue with the ebbs and flows of contemporary style, a vessel for cultural memory and craft traditions.
Hair by Daniela Magginetti at Blend Management
Makeup by Giulia Cigarini at Blend Management
