Gucci’s creative director Sabato De Sarno called on people to “Follow Your Heart” this season which is exactly what he did in in succinct, sexy and stylish collection that is sure to dampen suggestions that the Florentine brand is in long-term trouble.
Far from it, on the basis of this collection, where Sabato stayed true to his purple vision for Gucci – even appearing in purple Doctor Martin boots when he took his bow – and to his goal of elevating the brand.
Every fabric seemed a notch more expensive than those used by his predecessor Alessandro Michele, making the mood reek far more of rich.
Plus, given all the quiet luxury of the past couple of seasons, at times one wondered in Milan and Paris, do any of these models ever actually sleep with anyone? Not at Gucci, where Sabato’s lingerie looks, slip dresses and barely-there cocktails competed for attention. And screamed boudoir.
“Seek a small subversive gesture,” suggested Sabato in his notes, which is exactly what he did throughout this show.
His sense of tailoring was surgical and occasionally sizzling – cutting skirts, coatdresses and cabans well up the thigh suggestively. Blouses were almost completely unbuttoned and there were at least a dozen bras on display. Shoes were often platform loafers with horsebit buckles, or some great new riding boots, respecting the house’s equestrian tradition.
All staged inside Fonderia Carlo Macchi, a rusting foundry in north Milan, where Gucci held its menswear show last month. But used far more professionally this time. Instead of spotlights following the guys in the semi-darkness, this runway display put the cast on an elevated silver metal catwalk, accentuating the sense they all had two-meter-long legs.
Kicking off with an opening safari blazer which was barely longer than the mini skirt it accompanied, and pairing it with thigh boots. Even when De Sarno went long, he cut cocktails with corset shapes, or showed lace camisole tops over pocketed skirts cut well up the thigh.
For evening, the designer went into overdrive with a great display of evening coats exploding in crusts of sequins and beads, over pink sequined cocktails, opened back all the way to the bum.
All completed with tough chic gold costume jewelry – from chunky bracelets to posh retro cat-eye acetate sunglasses. Best of all, were a plethora of new bags: from a nappa leather GG Milano with a perforated logo to a half moon shaped bag with an equestrian motif.
Sabato took an extended bow, with all Gucci and Kering staff and a phalanx of pampered celebs giving him a standing applause. All the editors sat in their seats, but they at least applauded enthusiastically. Not quite a home run, but a winning performance by a house that still feels pretty tense, given its most recent figures. Gucci revenues were down 2% in 2023 to €9.9 billion.
The designer took no interviews and his backstage was closed to media, never a positive sign.
Pre-show in Milan, one could sense a faintly anti French mood in the city, as the chattering fashionistas snickered that Paris-based Kering’s double elimination of Gucci’s previous designer and CEO, Alessandro Michele and Marco Bizzarri, was a knee jerk Gallic decision that would backfire. Well, one can drop that idea after this show, which showed a designer very much in control of his studio, and determined that his vision was going to be put into action.
It all felt like a rush to make a decision on Sabato’s reign, long before he had completed his first year. Schadenfreude for infants. Kering is clearly backing Sabato up: already this month, a fancy store opening in New York; double decker buses painted Gucci Ancora purple in London; trams done the same in Milan.
In short, after this fine show and clear statement, despite the naysayers, Gucci seems to be growing again.
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