Gucci’s Glamorous Revival: A Night to Remember at the Tate Modern
As the sun dipped below the horizon of the River Thames on Monday night, London’s iconic supermodel Kate Moss struck a pose for the throngs of paparazzi gathered outside the imposing Tate Modern. The star-studded lineup soon followed, featuring the likes of Dua Lipa, Paul Mescal, Debbie Harry, Solange Knowles, and Demi Moore, who carried her tiny Chihuahua Pilaf like a chic accessory. They had all come together for Gucci and its new creative director, Sabato De Sarno. The stakes were sky-high as he unveiled his debut cruise collection.
Gucci, one of the world’s most recognizable fashion brands, generated nearly 10 billion euros (about $10.8 billion) in revenue last year. However, the brand has faced a significant downturn recently. This decline has had a substantial impact on its parent company, Kering, for which Gucci accounts for half of the sales and two-thirds of the profit. Last month, Kering reported a nearly 20 percent slump in Gucci’s sales in the last quarter, leading to a rare profit warning and a drop in share prices.
The responsibility for this downturn does not rest on Mr. De Sarno, who was appointed 15 months ago. His designs have only recently hit stores following his debut at Milan Fashion Week in September. However, his initial collections, with their focus on clean, contemporary silhouettes and accessories, received a lukewarm reception. Critics worried that his approach might be too safe and straightforward compared to the flamboyant style of his predecessor, Alessandro Michele. The question remains: will the fashion industry and its cautious investors give Mr. De Sarno the time he needs to revitalize Gucci?
If the “We’ll Always Have London” cruise collection is any indication, they should. Gucci has deep roots in London, with founder Guccio Gucci once working as a baggage porter at the Savoy hotel, observing the elite’s luxurious lifestyles. In his show notes, Mr. De Sarno expressed his renewed inspiration from the city that has embraced him. The Tate Modern’s Tanks, vast underground concrete caverns, were transformed with over 10,000 lush plants adorning the ceiling, floor, and pillars. Models navigated these verdant spaces in garments that felt lighter and more desirable than previous collections, featuring short suede coats, capes, perfectly tailored denim, and skirts adorned with paillette daisies.
British fashion influences were evident throughout the show, especially in the pearls, knee-length pencil skirts, and beige anoraks reminiscent of Queen Elizabeth II’s style. Dresses and coats with shimmering bead fringes referenced Scottish plaids, while slick accessories, a hallmark of any major fashion brand, included mesh supermarket shoppers, giant Jackie styles, and the Blondie shoulder bag—a revival of a 1970s Gucci favorite. Leather flats paired with ankle socks, particularly the square-toed versions, stood out.
Mr. De Sarno’s new signature color for Gucci—a rich oxblood red—was a prominent feature, along with his short shorts and minis. The show concluded with a series of billowing pleated gowns in pastel shades, perfect for a festive occasion.
The 600-plus guests then moved to the vast Turbine Hall of the Tate, where a massive disco ball signaled the start of an after-party that lasted until 3 a.m., with Champagne flowing and DJs, including Mark Ronson, providing the beats.
While the journey to recovery may be ongoing and its success uncertain, Gucci appears dedicated to Mr. De Sarno’s vision. This collection was his most polished and confident presentation yet, and that alone was worth celebrating.