Milan Fashion Week has seen its share of entrances, exits, and expectations. But when Demna takes the reins of a house like Gucci, the industry holds its breath. The Georgian designer, known for redefining luxury through the lens of the everyday, has spent years building a world where a hoodie can carry as much weight as a gown. So what happens when that sensibility meets the marble halls of Italian heritage?
The answer, unveiled in a monumental, museum-like space surrounded by classical statuary, is less a revolution than a recalibration. Demna calls it Primavera, a palette of stylistic propositions for the people Gucci already speaks to, and those he hopes it will speak to next. It is a collection built on pragmatism, on clothes that require no pseudo-intellectual justification. They simply exist to be worn, to be enjoyed.
The clothes are about product. That is what Gvasalia keeps coming back to. Silhouettes, textures, materials. Lightness, ease, comfort. Body-aware shapes. There are seamless garments cut as close to the body as possible. Invisible heat-sealed edges. Engineered curved hems. Jackets appear multiple times. Low-cut jackets and horizontal pockets give things a streetwear posture. New shapes appear. Tracksuits merge into new forms. Leggings fuse with trousers. Jackets and tops become one ultra-fitted piece.
Footwear anchors the collection in the everyday. Manhattan, Demna’s first sneaker for Gucci, combines an ultra-minimal basketball shape with the slip-on ease of a mocassino. The Giovanni and Cupertino loafers erase the stiffness of traditional leather shoes, softening them into something that moves with you rather than against you.
Throughout the presentation, the soundtrack (five distinct genres curated by Loki) mirrors the collection’s juxtapositions. It is classical and contemporary, chaotic and cohesive, much like the mix of archetypes on the runway.
