Gucci's London cruise show mixes 'strength with delicacy'

The last time Gucci showed in London was at Westminster Abbey in 2016, in the early honeymoon days of Alessandro Michele's tenure at the brand. But this time, under the direction of Sabato De Sarno, the place couldn't have been more different. From the Abbey celebrating all that is traditional about British life to the Tate Modern which is all about the new, the new and the latest.

It was a fitting backdrop to a headline-grabbing experience. And headline-grabbing Gucci really is. The brand's sales may have slowed lately, but it's still the big draw it's had since the days of Tom Ford.

So what is De Sarno's vision for cruise 2025? He spoke of “dichotomies: rigor and extravagance, strength in delicacy, English with an Italian accent… Dress codes – of decorum and propriety – are here subverted, used as a means of provocation.”

What that meant in practice was an eminently wearable collection with enough content to suit every generation, from the well-heeled Generation Z embracing retro flair, sheer, embellishments, minidresses and a relaxed feel, to laid-back (or not-so-calmed) pieces. ). ) Baby Boomers choose boxy jackets, chiffon blouses, elegant shorts or tight skirts.

The overall silhouette was either wide and airy (baggy coats and jackets for warm weather, baggy jeans, retro blouses or flowy pleated dresses that aren't quite red carpet), or clean and boxy (driven by the jacket as a key element ). Much of it came in cool sorbet tones paired with neutral Gucci colors.

As for the print, it was the chamomile floral or checkered motif. Florals appeared in the form of embroidery, prints, appliqués or fabrics for elegant coats and jackets, dresses, jeans and more.

And the paintings offered a surprising burst of movement and brilliance. Day turned into night as the technical trench coat with more defined checks contrasted with fringed sequins, also intricately assembled to form the same check.

Meanwhile, top accessories were dominated by giant shoulder bags (that looked like they ate Alice in Wonderland's cake), or the 1970s Blondie bag, and by oversized shoppers. Meanwhile, shoes were universally flat, from ballet flats to creepers.

So why was it all shown in London, particularly at the Tate Modern? After all, it's not a shocking venue (as the Abbey was), having hosted shows before, from Topshop to Christopher Kane. But Gucci has a cultural partnership with the Tate to encourage young creatives. Plus, of course, more modernist, less opulent places are a “thing” right now.

But it was also a great backdrop to show the contrasts that Sabato De Sarno was working on for the collection with the raw concrete of the Turbine Hall decorated for the occasion with live vegetation.

And London? De Sarno said in the program notes: “I owe a lot to this city. He welcomed me and listened to me. The same goes for Gucci, whose founder was inspired by his experience there.”

He also spoke of “his creative engine with its unlimited capacity to bring together contrasts, make them converse and find ways to coexist.” And that statement also summed up the collection. So what else can a Londoner say than “well, Sabato.”