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86GUCCIGrannyesque floral-print silks (asseen on, LEFT, Claudia Schiffer in1990 ) get a magpie makeover(O P P O SI T E) f ro m Ale s s a n d roMichele with the help of a newand unexpected marking: theNew York Yankees logo.OPPOSITE: Montero in a Guccijacket ($4,730), shirt ($1,640),pants ($2,710), scarf, shoes, andbags; gucci.com. In this story:hair, Shon; makeup, Lisa Butler.Details, see In This Issue.``````After an era dominated by the invisibility of normcoreand the coded insider cool of streetwear, this new go-iconic-or-go-home era is hugely welcome for its exuberance, its fun,and—weird as it might be to say—its sense of value. Thereceived wisdom was that to get the most out of designerpurchases, focus on things that look as understated aspossible because they’ll last a whole lot longer. But where’sthe joy in that? Fashion is at its best when it’s emotional—when it’s what Saint Laurent’s Vaccarello calls “an escapistfantasy,” not the closet equivalent of your 401(k).Take Gucci’s iconic Flora pattern—a wild garden printrendered in nearly 40 colors, first seen in 1966 on a scarfmade for Grace Kelly. Fifty-two years later, Alessandro``````Michele has taken that same motif, added the New YorkYankees logo, and made a pajama top out of it. By go-ing big and unabashed—not to mention wildly, joyfullyunexpected—Michele has breathed new life into muchmore than just that Flora print; he’s gone full-throttleoverboard with its iconic red-and-green stripe and thelabel’s double-G logo.Far more than an impulse to flaunt, this new wave ofplaying with signature style is, deep down, a tug at ourhearts. With our culture moving at lightning speed, thisreusing and retinkering is both a mooring in the mayhemand an opportunity for creative reinvention. After all—asignature is what makes things official.—nick remsen ARTHUR ELGORT. SET DESIGN, ALEXANDRA LEAVEY. PRODUCED BY ARAMINTA MARKES AT BELLHOUSE MARKES PRODUCTION.