Gucci is a brand, but it is also a shared cultural touchpoint that speaks to a wide variety of people, reflected in the range of archetypes, tastes, identities, and dress codes of Primavera: a palette of stylistic propositions for those the House already speaks to, and those I hope for it to speak to. Presenting it in a monumental, museum-like space, surrounded by marble statuary, expresses how I view this incredible House. Mirroring my vision, it is soundtracked by a juxtaposition of 5 distinct genres curated by loki, shaped into a singular sound aesthetic.
This collection establishes a new vocabulary of silhouettes, textures, and materials, expressing the product design ethos at the core of Gucci. It informs ideas of lightness, ease, comfort, and body-aware silhouettes, driven by rigorous product development that has allowed us to create the ultimate seamless garments and pieces cut as close as possible to the body, a quintessentially Gucci sensibility, alongside invisible heat-sealed edges and engineered curved hems.
The collection opens with the ultimate seamless minidress in white hosiery fabric, worn with a femme fatale attitude; a palate cleanser. Proposing multiple modes of dressing, the same jackets are worn with skirts, legging-pants, and trousers, from the office to the bar and in between. Easy, fluid tailoring is cut in ethereal, liquid-like fabrics, lent a streetwear sensibility by low-cut jackets and trousers with horizontal pockets that give you a specific posture.
New garment types, an everlasting obsession of mine, include tracksuits and dresses morphed into modern trackdresses; leggings fused with trousers; jackets and tops merged into a single ultra-fitted garment; and leather shoes and sneakers that meld into a shoe with the aerodynamism of a sports car.
Voluminous feather embroideries line snug bubble blousons, bombers, and intarsia shearlings, spilling out to frame the wearer’s face. Precious leathers, selected for their softness and pliability, lend ease to bikers, fitted pants, and plush circular stoles.
The statuary that shaped my aesthetic sensibilities informs chiseled Adonis looks that speak to Renaissance ideals of proportionality and physique, skater looks worn with fluid T-shirts held in a Grecian drape, and a slinky white gown that evokes the Birth of Venus.
Precious two-piece sets, a partyboy proposition of fitted tops and slinky trousers, are drowned in embellishment and worn barefoot, complementing risqué gowns and minidresses with waist-high slits, finishing with a backless gown that exposes a white gold GG thong bedazzled with 10-carats of diamonds.
The iconic Gucci Bamboo 1947 bag is updated with a new, sleeker volume and a “bamboo” handle made of flexible, pieced leather sections, and archival minaudières are stretched to fit your phone + the essentials. Manhattan, my first Gucci sneaker, combines an ultra-minimal basketball shape with the slip-on ease of a mocassino, while soft Giovanni and Cupertino loafers erase the stiffness of leather shoes.
This collection, and my overall vision for Gucci, is built around a sense of pragmatism: products that can be enjoyed by a variety of people, that enrich their lives and make them feel great, that can stand on their own, without the need for pseudo-intellectual justifications.