The House opens Milan Fashion Week with a reflection on unique individualities.
Marc Ribot’s Ceramic Dog sets the stage, with the noise rock trio playing a special composition echoing the charged energy of the House’s latest fashion show. A collective expression, the presentation activated the diverse knowledge, skill, and imagination of the creatives and craftsmen that make up Gucci through the idea of musical improvisation.
Creative riffs on masculine archetypes and the House’s archive cross-pollinated on the circular runway at the Gucci Hub. Languid tailoring mixed harmoniously with motorcycle garments and sportswear informed by the early 2000s. Blazers were oversized, and overcoats skimmed the ground. Classic constructions transformed through spontaneous inventions, such as trousers into draped, floor-length skirts that reveal the legs in movement. Suits with detachable elements brought the attention to each wearer’s own individual interpretation, while sequins shined under the spotlights, amplifying the craftsmanship at the core of the House.
Crystal GG, a new lacquered interpretation of the House’s monogram from the 1970s, appeared in pop colors across bags and boots. Defined by their distinctive hardware, the Jackie 1961 bag and the Dionysus became softened and unstructured with a laidback attitude. Square-toed Princetown slippers and corduroy Horsebit loafers had a lived-in feel, while Gucci Valigeria garment bags nodded to the modern traveler—the original archetype of the House. To complete looks, defining codes such as the Horsebit and piston linked together into bracelets, and vintage-like silk scarves were intuitive gestures tied around the leg or on Gucci Bamboo 1947 bags.
From the subdued and classic to the bold and attitudinal, throughout the collection the idea of the multi-faceted masculinities of Gucci took center stage, each diverse expression prompting the individual to explore their own freestyling.
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