Yesterday, creative director Sabato de Sarno took to London to premiere his highly anticipated 2025 cruise collection for Gucci—marking his fourth collection and first cruise show with the label. The Tate Modern‘s Turbine Hall in London was transformed into a lush jungle for the affair, replete with an abundance of moss and plants that contrasted against the raw, industrial floors of the setting.
It was an interesting choice of locale, apart from the usual sort of sunny vacation destinations that fashion houses choose as the backdrop for their cruise shows. De Sarno justified the location on the grounds of Gucci’s deep-rooted ties to London, explaining, “I owe a lot to this city, it has welcomed and listened to me. The same is true for Gucci, whose founder was inspired by his experience there.”
Courtesy of Gucci.
This is a collection which honed in on contradictions: man and nature, sentimental and minimal, fragile and tough. Short coats tailored in technical gabardine remained soft against the body, decorated with wild chamomile floral motifs. Denim was relaxed and oversized. Outerwear offered protection against the world, even when made of chiffon and lace, and pastel evening dresses were worn under leather jackets.
Gucci’s iconic lobster-clasp was transposed to a feminine pearl necklace, offering both functionality and meaningful decoration; footwear ranged from horse-bit ballerinas to raised brothel creepers. Symbols of British style—tartans, tailoring—were reconsidered and recontextualized, lending a sense of classicism to a collection that is stark in its desire for modernity.
Courtesy of Gucci.
As the last of the models made their way onto the runway, a soaring violin rendition of “Heart of Glass” by Blondie and “Ancora, ancora, ancora” by Mina began to play. It was a thoughtful nod to the Gucci Blondie bag, which was revived earlier in the show, and a suggestion that the Gucci universe as we know it is shifting.
Courtesy of Gucci.
