“Gucci Ancora,” which translates to “Gucci Again” in Italian, is the name of Sabato De Sarno’s debut fashion line.
The name of Sabato De Sarno’s debut collection, “Gucci Ancora,” which is Italian for “Gucci Again,” conveys the designer’s desire for consumers to fall in love with Gucci once more.
The title is a heartfelt acknowledgement of the difficulties facing Gucci’s brand-new creative director, who joined the fashion powerhouse this summer from Valentino, where he spent 14 years after stops at Prada and Dolce & Gabbana.Can De Sarno replicate what his predecessor Alessandro Michele was able to do by luring customers to Gucci and sustaining double-digit revenue growth for French owner Kering? till the upcoming slump.
The most anticipated Milan Fashion Week event for womenswear for the upcoming spring and summer was De Sarno’s debut on Friday, nine months after being appointed following Michele’s unexpected resignation.
Hollywood A-listers like Ryan Gosling and Julia Roberts were seated in the front row because to the enthusiasm. Anti-fur demonstrators briefly encroached on the runway, causing a small commotion before being silently expelled.
What the collection was not: Tom Ford-style overt sexiness in a seductive way. It also wasn’t eclectic like Michele’s dreamy, transgender vision. In the 100-year history of the company Guccio Gucci started after working as a bellhop in London, both were times of economic expansion.
De Sarno recently expressed his appreciation for Brutalist architecture in an interview, which seemed to indicate a love of the essential—and his collection contained only the essential.
The Gucci logo was used rarely. There were a few cameos of the Gucci stripe.
One fashionista in the third row got up to take a picture of a plain gray sweatshirt. Could this be the savior the fashion industry has been looking for? Or was it more the promise of simplicity and the novelty of absence?
A Gen-Zer with body confidence can find plenty to adore without being pressured toward sexuality.
To wit: White tanks, which another brand successfully wore with very short shorts and a belt with the double-G insignia. A baby-knit culotte and matching polo with Gucci stripe accents were seen being worn casually. A similar midi skirt and a little leather bra top in embossed leather were worn together. A collection of charming shift dresses had a straightforward, sculptural appeal.
The majority of outfits were worn with platform loafers rather than the stilettos of the 1990s.
One of De Sarno’s few embellishments, fringe, gave a pair of skirts movement. Some of the shoes in the final looks reminded me of Michele’s fur-lined loafers since they were covered in tinsel. And rhinestones were used to embellish a number of shifts for the event.
The presentation was forced to be moved from Milan’s stoic architecture and Brera’s cobblestone streets due to a rain forecast. In this environment, the looks would have been given a street sense. It was held in Gucci’s Hub on the outskirts of the city instead, which lacked the same context and had a boxy, black showroom.
Because of its history as a leather products company, Gucci is an empty vessel that can be filled and sculpted to the desires of any creative director. History demonstrates that this can sometimes result in abrupt changes in direction.