“Every now and then, I know, you dream too, and you dream of us.”
– Valerio Eliogabalo Torrisi
This is the new design that appeared on the Gucci Art Walls scattered throughout Milan, a choice that tells the increasingly felt connection between the dialogue of fashion and art, an integral part of the vision of Creative Director Sabato De Sarno.
The sartorial character is evident in the inspiration of the Gucci designer. It was easy, therefore, to imagine, after the first collection presented in September, what would emerge from this men’s runway show. The minimalism is clear and evident, shouted in an incredibly silent manner. And the women’s proposals almost naturally shift into the men’s wardrobe. Daily life is the main artistic will that De Sarno decides to embody, a fast and understandable reality, perhaps even simple, but only in appearance, redefining without unnecessary embellishments the very precise identity of a brand capable of rising from its own ashes. And just like the mythological representation of the phoenix, Gucci’s Fall 2024 collection is a unique depiction. This fabulous sacred bird has often been depicted in very different ways, with bold colors, metallic feathers on the neck, a red body, blue tail, pink feathers, purple wings; even the legs, beak, and feathers are tapered and elongated, in dialogue with the sleek silhouettes and contrasting volumes of the upcoming men’s season.
The collection is a true mirroring of characters, aesthetics, materials, colors, and cuts. “I started with the coats, […] my passion is for coats.” This garment enters into an intimate relationship with the person, welcoming and enveloping, warming and embracing. The opening look is the same extraordinary gray top coat that opened the September show, with a grosgrain ribbon in the iconic brand colors applied inside the back cut. The other coats resemble each other in structured yet soft cuts but differ in their length: calf-length, ankle-length, or floor-length. Leather jackets skillfully alternate with meticulously tailored blazers, entering into a sharper contrast with the maxi volumes of utilitarian-street-inspired bombers. The desire to convey the idea of the sensuality of a modern and elegant man is reflected in bare chests over which outerwear is worn, in shirts and lightweight tops with maxi necklines, and in the return of the tie to the runway. The quintessential formal accessory is reinterpreted here with games of material, lightness, and details; knotted around the neck with the help of some chain rings, it moves fluidly and freely along the bodies, in rhythm with the models’ steps. The final proposals are inevitably destined for the evening, traditional black and white tuxedos, with asymmetrical ties and double-breasted blazers layered over bare skin or deep tank tops.
The colors are rich, intense, and decisive; the palette extends from the initial tones of gray, white, black, beige, and blue to much bolder shades. The Ancora red, pea green along with the darker bottle green variant, vibrant azure, and soft pink are prominent. Even in the details of the garments, the play of colors from the entire collection recurs. The lapels of the double-breasted blazers feature a small contrasting strip of color, echoing that of the shirt worn underneath. The cuffs or collars of sweatshirts and knitwear pick up details from the accessories, just as in women’s fashion, the dialogue between the showcased looks is incredibly well-thought-out. A key element in the exploration is the use of materials, specifically the use of leather. The vast majority of looks are accompanied by incredibly unique maxi Jackie bags, matte or glossy, carried by hand or over the shoulder. A classic and timeless element in Gucci’s history, the Jackie bag evolves over time, absorbing rhythms and trends, colors and effects, details, and characteristics. Other bag proposals lean towards classicism, in leather or fabric, including hand-carried shoppers and more casual-looking backpacks. The shoes also reference the platform and slingback options presented for women, with a unique model but multiple variations: smooth black leather or embellished with studs, monogram canvas, and bi-color options with red and white alternating on the dark sole. Balance is a priority, aiming for “attractive and collectible items, not for a museum but to be worn in everyday life.”
“It’s a story of wealth and desire. Of red, but also of blue and green. Of flashes and spontaneity, of a party at the first light of morning. It’s an open, proud, manifest story, even though it might not seem so, it’s not forbidden to anyone, it’s free and full of euphoria.”
“It’s a story of objects – shining, cold to the touch but warm in the soul and heart.”
– Sabato De Sarno
The aesthetic change has once again brought with it a rethinking of fashion as a fundamental element, in its essential nature. The true and profound identity of dressing, beyond costume and trend. The desirable character that fashion cannot do without, the commercial purity of the much-discussed quiet luxury aesthetic. We’re not talking about abstraction but about the practicality and materiality of characters in this new season. Hence, for every men’s look, there is a corresponding women’s look, a rather literal description of Gucci Ancora. The narrative is understandable, simple, and everyday, speaking of refinement and glamour, of classicism and worldliness. “It’s the story of everything, again, a whole that this time manifests itself through joy,” concludes Sabato De Sarno.