The dress codes of the new Gucci Cruise, presented last night in the spaces of the Tate Modern in London, are subverted, overturned, used as a tool of provocation. In the opening phase, denim pants mixed parade under the tailored outerwear of Sabato De Sarno (caban with martingale belt, double-breasted jackets) deformed thanks to the processing in matte brown suede. Follow the blouses with bows, while elsewhere, the high-necked coats in patinated leather are protagonists of a series of looks in blocks of three colors, also defined by skirts and coordinated suits with bags. Complexity and ornamentation have been introduced into the collection through jeans adorned with beads or floral patterns: wild chamomile flowers that during the show become an all-round motif in subsequent looks and become three-dimensional, made of laser-cut organza with manual assembly, or in hand-shaped sequins. A feeling of protection and sophistication in outerwear – short, made of gabardine and with a rigorous cut, obviously red Gucci Again – contrasts with chiffon, ruffles, lace, where evening marries everyday life. Tailoring blends with workwear and street style with loungewear: carabiner closures are applied to pearl necklaces, while the clasp applied to suede pays homage to the bond between the Maison and the equestrian world. Meanwhile, symbols of British style like tartan and Gucci emblems are rethought, infused with new energy for a new generation, a new era: Scots are reinterpreted with embroidered fringe of very fine beads. Craftsmanship and fashion become instruments of unity, transcending culture and contributing to create a new form of universal language, a shared human vocabulary.
“Fashion design is a means to study, explore, interpret. After having expressed my ideas of desirability and sensuality, this is another piece of me, more romantic, more contradictory”.
“The House’s return to London is driven by a desire to be immersed in its distinctive essence, its creative driving force with its limitless capability to put together contrasts, make them converse, and find ways to coexist”.
Almost all the footwear worn by the models are low shoes: an offering ranging from pointed ballerina flats in horse leather with rubber grid soles to creepers already seen in FW24, raised and with branded metallic segments, an iconic symbol of London punk subculture and the nightclubs of Soho and King’s Cross: the liberation. And just as sneakers are borrowed from the male repertoire, jeans, a section of popover shirts in poplin, and oversized denim bombers complete the picture. Denim is relaxed, and movements transform. Attitudes can change and perceptions can alter. Inspired by Italy in the early 1970s, the Gucci Blondie bag juxtaposes preciousness and utility: worn on the shoulder, the logo is in leather or applied with a technique borrowed from Gucci jewelry. The Gucci Cruise 2025 show tells a new story through the imagination and various personal facets of Sabato De Sarno, his memories of places, people, and ideas weave a new story that reflects both the historical, deep, and significant ties that bind Gucci to the city of London, and his personal experiences. The models’ bodies float through the rooms of the Tate Modern, a public space where people of all kinds encounter culture; a multifaceted and unique arena designed for exchange, unexpected juxtapositions, and chance encounters: the same can be said of the Savoy Hotel for Guccio Gucci, who drew inspiration from it over a century ago. The architecture of the building is synonymous with modernity – its function rethought as a structure for art further rethought for this runway show. The external becomes internal: the bare concrete tanks are invaded by a poetic panorama of vegetation. Man and nature, sentiment opposed to minimalism, its duality rediscovered, demonstrating the two faces of London, the two sides of life, a symbolic antithesis echoing throughout Cruise 25.
Watch the full Gucci Cruise 25 fashion show here.
