Gucci's new creative director plunges into menswear with slightly shimmery, subversive classics
Hot off the Taylor Swift’s red-carpet triumph for Gucci in glittering green, the Italian brand’s creative director Sabato De Sarno plunged into his menswear debut on the first day of Milan Fashion Week with somewhat shimmery, slightly subversive classics
Gucci's new creative director plunges into menswear with slightly shimmery, subversive classics
Show all 14Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Hot off Taylor Swift’s Golden Globe red-carpet triumph for Gucci in glittering green, the Italian brand’s creative director plunged into his menswear debut on the first day of Milan Fashion Week on Friday with somewhat shimmery, slightly subversive classics.
DeSabato De Sarno’s second runway collection since being named creative director a year ago continued to shift and clarify Gucci codes, with several looks purposefully mirroring his September womenswear debut: a deep, blood red leather jacket over bare legs exuded passion, while a zipped navy jacket with jeans or a sheer ribbed sweater in camel spoke to the brand’s urban cool. The collection was title “Ancora,” Italian for still, or again.
De Sarno tended toward low-key with the silhouette and the logo: double-breasted jackets were stripped of visible closures, trenches were long and streaming, plain pea coats returned to the brand’s utilitarian heritage. The logo was sparing: Gucci was emblazoned in subtle raised letters on leather bags, the double-G logo appeared as repeating patterns on slim suits and the Gucci stripe inside coat slits. For the masses in search of a cult item: the double-G belt abides.
Bondage touches came in trailing silk tie fastened around the neck with silver hardware and half gloves in leather. The power of pairing was best displayed in a shirtless look with straight trousers, the double-G belt drifting to the hip.
With a versatile sporty-to-tailored-to-dance floor silhouette, the collection was blinged up with kaleidoscopic crystal-covered tanks or trousers, or shimmery shaggy lurex coats that mix light and motion. Zippers are deliberately deployed to catch the light against a dark palate. Crystal sequins lit up the collars of ribbed knit-wear. Adornments are purposeful, nothing overwhelming about them.
“It is manifest, and not taboo, although it might look like it should be, it is completely free, and filled with euphoria,’’ De Sarno said in notes.
In another break with the recent past, De Sarno moved the show from the modern, peripheral Gucci Hub to an industrial space in a former foundry across the city.
Front-row guests included Elliot Page, and Idris Elba with his wife Sabrina Elba.
Subscribe to Independent Premium to bookmark this article
Want to bookmark your favourite articles and stories to read or reference later? Start your Independent Premium subscription today.