Sabato De Sarno has just unveiled its new collection for the Italian house.

A return to the source… It was here in London, at the Savoy to be precise, that it all began. When a very young Guccio Gucci, porter in this palace in 1889, was inspired to create leather goods for luxury clients.

What should we remember from the Gucci cruise 2025 fashion show presented in London?

For the cruise collection, Sabato De Sarno himself comes to summon some youthful memories, all, perhaps, with a hint of superstition, like the desire to align the stars: “I owe a lot to this city,” explains the Creator. She welcomed me and listened. The same goes for Gucci, whose founder drew inspiration from his experience there. The return of the House is motivated by the desire to immerse oneself in its distinctive essence, its creative engine with its unlimited capacity to bring together contrasts, bring them into dialogue and find ways to coexist. Today we are here to celebrate that spirit.”

Meet in the Tanks of the Tate Modern where the parade takes place and in the immense space of the brutalist museum, the foliage has invaded the concrete passageways: a smell of moss, as if we were in a strange and secret undergrowth . This cruise collection, as its name suggests, sails between England and Italy. A certain bohemian casualness mixes with the rigor of tailoring: we can think of this famous photo of Samuel Beckett, very cool with his Gucci bag under his arm. The silhouettes mentioned this kind of attitude. Short gabardine coats on transparencies. Lots of faded jeans with very fitted suede jackets from which the ribbons of a pussy-bow blouse escape, give the seventies look. Rivers of crystals flow down the denim. The pantsuits are all in daisy print. The fragility of the organza flowers contrasts with the shiny leather.

The little colorful ballerinas oppose the Mods’ creepers. The jackets descend onto transparent, spidery skirts. A collection like a resort, which would take and mix elements at the turns of its walks. The Blondie bag was on the trip, a nod to Debbie Harry in the audience. Later, a big party took place in the museum hall where a giant disco ball recalled this memorable installation, the sun by Olafur Eliasson, twenty years earlier.

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