One year into Sabato De Sarno’s tenure as designer, Gucci is still struggling to weave a compelling narrative in the fashion world. The brand’s latest menswear collection showcased on Monday in Milan did little to change that trajectory.
During the show, De Sarno introduced a line that was markedly more vibrant than his initial outing. The collection featured an absinthe leather coat that kicked off the show, followed by an array of brightly colored garments including mesh tops in carnation and plum, tangerine bags, and lilac sneakers. These bold pieces were interspersed with more traditional tailored looks and a series of camp shirts in loud, graphic prints that revamped the usual tropes of dolphins, surfboards, and banana leaves with stark, minimalist patterns.

This colorful and sporty approach might satisfy long-time Gucci fans who appreciate the brand’s reputation as a fun luxury powerhouse. However, this direction seems to be a departure from the past year’s efforts to cleanse the palette and return to the brand’s heritage—efforts that have somewhat diluted Gucci’s strong identity.
Monday’s show was set against the backdrop of the Triennale Museum in Milan, echoing Gucci’s May womens emor show at Tate Modern. This choice of venue was intended to align the brand with contemporary creativity, yet the lack of any real interaction with the venue, such as art installations or commissioned works, left the event feeling devoid of context. This was highlighted by an inscription from Saint Augustine about “love without measure” on the museum steps, visible only from above, emphasizing the isolated nature of the show.

The collection, though concise with 46 looks over eight minutes, failed to distinguish itself significantly from offerings by other brands. Some elements seemed reminiscent of Prada’s utilitarian styles, while the color-blocked tailored outfits bore similarities to Pierpaolo Piccioli’s work for Valentino. Only a few Gucci trademarks like logoed lanyards and horse-bit hardware hinted at the brand’s iconic heritage.
De Sarno’s challenge is formidable as he attempts to redefine Gucci’s aesthetic post-Alessandro Michele’s maximalist reign, which had saturated the market with the brand’s signature elements to the point of consumer fatigue. The future direction of Gucci remains uncertain, compounded by a general slowdown in luxury demand that is straining profits and complicating efforts to refine the brand’s upscale image while transitioning to a new creative vision.

In light of a 20% drop in sales in the first quarter, it seems critical for Gucci to find a way to reengage with storytelling, something that may now be more necessary than ever. Recent initiatives like an art book and a capsule collection celebrating iconic Italian furniture design suggest an attempt to connect with a niche audience, yet whether these efforts will resonate broadly remains to be seen.
As Guicci navigates these turbulent times, the brand must determine if it can afford to move away from storytelling, or if, in fact, storytelling is exactly what it needs to rejuvenate its image and appeal.