It’s really interesting to observe how badly Sabato De Sarno‘s Gucci tries to force everyone into thinking the brand – in its current situationship – is a “feeling“. You rather catch feelings, especially the good ones, instinctively and spontaneously. Genuinely. Not when somebody signals it in such a straightforward manner. De Sarno’s first resort collection traveled from Milan to London, and it aimed to somehow tell a story that connects the city and the Italian brand. I didn’t grasp that press release blah-blah at all. Just like I didn’t entirely get the point of the location – Tate Modern – and the plant-filled runway setting. If you want to position a brand as an art-loving platform, instead of stripping a London museum to bare walls and place tons of greenery inside, why not focus around some actual artworks that are contextually or emotionally close to the designer?

And now the clothes. Yes, resort 2025 is in some way better than De Sarno’s previous attempts, because at least it’s not repeating three styles throughout 50 looks. And there’s finally some range in terms of style. But here’s where the real problem starts. If not for the eventual Gucci logos and appearance of Jackie and Blondie bags, it’s really difficult to catch where the actual Gucciness is hiding in this collection. Not to mention De Sarno’s footprint which still feels blurry and indistinct. Some of these 1970s-inspired looks gave hints of Miu Miu and Coach. The pleated finale dresses could easily be Victoria Beckham (ironically a designer who often has trouble with finding her own voice – at least the eveningwear is emblematic!). The denim part of the line-up felt like the many iterations Pierpaolo Piccioli used to deliver at Valentino (where Sabato worked at before Gucci). Some of the outerwear and pieces covered with sequin-embellished checks could equally have a Burberry tag on and no one would question that. What was most confusing however were the vintage-y pussy-bows that instantly made you think of Alessandro Michele’s highly-memorable debut for Gucci, an instant breakthrough for not only the stagnating brand at the time, but 2010s fashion in general. Their presence seemed to say that there’s a large Gucci client base that wants that kind of style back as they don’t identify themselves with De Sarno’s reductive minimalism. So… I think Gucci fails to be a (good) feeling. Especially in times when the demand for luxury is decreasing and people investing in fashion want ingenuity and authenticity.

Collage by Edward Kanarecki.
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