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Gucci RESORT 2025


Creative Director Sabato De Sarno revealed the Cruise 2025 collection at London’s Tate Modern, a space that connects different people with culture, a diverse and unique arena for exchange, for unexpected juxtapositions and unanticipated rendezvous.



Forever a sense of contrast between ideas and identities, the first Cruise collection by Sabato De Sarno is inspired by his memories, emotions and experiences fused with Gucci’s heritage.




"We chose London for the Cruise show, knowing that was the right choice. 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. The House's return is driven by a desire to be immersed in its distinctive essence, its creative driving force with its limitless capability to put together contrasts, make them converse, and find ways to coexist. Today we are here to celebrate that spirit.– Sabato De Sarno

The art of craft. Up-close details from the Cruise 2025 collection by Sabato De Sarno before its debut in London.







For the Cruise 2025 fashion show at London’s Tate Modern, the Creative Director wove together his recollections of places, people, and ideas into a new story, one that is reflective of Gucci’s deep connections to the city and his own.








Pretty much all the shoes that came down the runway were flats in an offering that included horse-bit ballerinas with gridded rubber soles and the raised brothel creepers with branded metal segs we saw at menswear: liberation.


And just as those creepers carried over from menswear, the jeans, a section of workwear popovers in poplin, and the oversized leather bombers looked like promising candidates for a spring 2025 redux back in Milan next month. Elsewhere, high collared patinated leather short coats played protagonists in a series of looks consisting of three-way near-pastel color stories, also defined by skirts and coordinated handbag/shopping bag duets.



Intricacy and ornament was worked into the collection via jeans that swished with a feathered halo of threaded hanging beads or a dégradé beaded embroidery of chamomile flowers. These flowers became an all-over pattern on later looks, where you could see through the vent in one skirt that the black-backed pattern on the outside was reflected in an equally worked yellow backed organza equivalent in the lining. Checks were blurred by their definition in more hand-applied hanging beads and studs.










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