Gucci’s Post-Sabato Era Begins and It Looks Straight Out of Emerald City
The House’s first show after Sabato De Sarno feels like stepping into a world where the past lingers, the future glimmers, and everyone is dressed like they belong in Emerald City
A new chapter, without a hard reset
The first Gucci show following the departure of Sabato De Sarno is not a revolution, nor is it a return.
It is a continuum—a shifting, shimmering thread pulled through time, weaving together the past and the future. It does not dwell in nostalgia, nor does it sprint forward blindly.
Instead, it stands still, turning slowly, letting the light catch at different angles.
The result is a Fall/Winter 2025 collection that feels like it belongs in both the golden age of Italian cinema and a future we haven’t yet imagined.
There is something undeniably theatrical about it. The clothes—fluid coats in deep and inky greens, exaggerated collars that extend like question marks, shimmering satins that shift between chartreuse and forest—look like they could belong to the well-dressed elite of Emerald City, if Emerald City were reimagined by Gucci’s artisans.
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There is sprezzatura—the perfectly imperfect, the effortlessness that has always been intrinsic to the house—but here, effortlessness is not synonymous with restraint.
If anything, it is an embrace of excess, of a certain offbeat grandeur.
The Gucci codes, remixed
The catwalk itself, marked with the entwined dark green Interlocking G, is a nod to Guccio Gucci, fifty years of heritage distilled into a single motif. But heritage, in this collection, is less about replication and more about adaptation.
The silhouettes skim through time: the late ‘60s, where Gucci ready-to-wear began; the austere minimalism of the ‘90s; the opulent eclecticism of the 2010s.
There are clean and monastic lines punctuated by maximalist flourishes—a glimmering brooch at a throat, a belt buckle oversized to the point of surrealism. A new kind of balance is being struck.
Cinematic fantasy
It is fitting, then, that the show’s soundtrack is composed by Justin Hurwitz, known for scores that drip with nostalgia while still feeling fresh.
The live orchestra swells as the models move, as if ushering them between decades, between moods, between realities.
Perhaps that is the point. This collection is not about abrupt endings or new beginnings—it is about everything that happens in between.
The transitions, the echoes, the way history whispers into the future.
Gucci, at this moment, is not a place but a feeling, a lingering note in a film score, a flickering light in a green-tinted city that may or may not exist.
Courtesy Gucci
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