The radical freshness of Gucci Cruise 2025 in London

The show that Gucci staged yesterday at the Tate Modern Tanks in London took place in a large brutalist room covered, for the occasion, with over ten thousand plants that seemed to emerge from the concrete itself. And the sensation that this set-up seemed to evoke was that of a radical freshness, of a simplicity devoid not so much of complexity as of complication. The show opened with a series of boho-chic looks: ultra-relaxed jeans and vintage-constructed outerwear adorned with classic clips, paired with delicate blouses closed by a pussy bow that contrasted with the solidity of the jackets, soft ballet flats on the feet, and a simple string of pearls around the neck. In this first section, the jackets, capes, and dresses had a very '70s vibe (the same era as the Blondie bag, retrieved from the archives for the occasion) that was countered by the shorts and jeans which remained the common thread that opened a second series of more modern looks, inaugurated by a combination of a white shirt and denim. This was followed by a series of soft organza pieces that were form-fitting and structured together, with a very bon ton delicacy, followed by other looks in which the protagonist was a garment halfway between a work shirt and a classic anorak paired with ethereal skirts that included the dominant floral motif of the collection: a spread of tiny chamomiles that were interpreted through both embroidery and a print applied on shirts and denim. The floral motif is important for Gucci, as practically every creative director in its history from Rodolfo Gucci onwards has signed one. The one chosen by De Sarno is very indicative of the quiet and almost relaxing romanticism, imbued with relaxation, that is defining the brand's new direction: chamomile is a wildflower, yes, but it is also a healing plant and represents well the clarity of the new silhouettes.

After two more opulent looks, illuminated by crystal fringes that created a sort of mobile checkered pattern, in soft colors like pink and sage, a series of other daytime looks arrived. Here, what stood out were the stunning Harrington jackets in gabardine (certainly a nod to the English location of the show) that would later return in leather, along with evening dresses towards the end of the show, and then a series of three looks played on the layering and juxtaposition of different fabrics: a large white cotton blouson separated from jeans by a rain of bright blue fringes; a billowy, transparent blouse decorated with a carpet of chamomiles; a transparent dress protected by a heavy black jacket. At this point, the evening looks arrived: more fluid, often asymmetrically constructed, but with a vaguely severe tone given the dark colors and the material that could be the same as that of a men's suit, lightened however by slits and detachments, by the mischievousness of a lace bra emerging from the hem of a top. Here, as in the transparent looks, all made of organza, that sense of simple linearity, cleanliness, and clarity returned as a style statement - it's a very resolved type of femininity, more reasonable than rational but completely devoid of dark poses, exaggerated sensitivity, and decadent languor. Then came more exuberant outfits: a series of variations on formal dresses covered in the micro-print of chamomiles culminated, after two combos of tartan coats and lightweight dresses, in skirt-shirt looks completed by a pastel-colored leather jacket, and finally in a series of pleated evening dresses that moved with such softness as to resemble the hypnotic sway of underwater plants.

Overall, approaching the fourth show for the brand and close to the fifth we'll see in the middle of next month, the feeling is that Sabato De Sarno is digging deeper to give back to the audience the image and identity of "his" Gucci, increasing its resolution and clarity after each season, focusing on increasingly detailed details. And if the first two women's collections spoke to us about how De Sarno approaches design, about the straightforwardness with which he develops his own vision, this show made it clear who the "Gucci girl" is in her daily life, her blend of sensuality and innocence, the harmonious serenity with which she carries herself and dresses. If the product is able to speak for itself, and it does, it's good that the world De Sarno has in mind is creatively articulated with greater breadth as seen in yesterday's show, where there was more freedom of movement in the choice and staging of the scenery, more comfort in establishing the mood and imagery (and ultimately also the new direction) of the brand to which the presence of nuances and this fresh and clear perspective can only do good. Certainly, emphasizing the combinations of compactness, density, and different lines to give the idea of a comprehensive wardrobe, more "human", but also more luxurious and endowed with its own originality. And the originality of this Gucci is less ostentatious and more heartfelt, it's an originality of which one is intimately aware and therefore devoid of pretension, spontaneous. It's a radical freshness, as it was said.