Gucci Spring 2027: Demna’s POV

by · WWD
Gucci Spring 2027 Ready-to-Wear Collection at Milan Fashion WeekGiovanni Giannoni/WWD

Gucci’s show location was set as a store complete with marble walls, a bas-relief, a rail of clothes and shelves displaying the brand’s accessories. The store is a blueprint for a future Gucci unit and, like this collection, was further evidence of Demna’s increasingly clear vision for the brand. It oozed sophistication and, as the designer indicated during a preview, solidified the aesthetic developed across the previous seasons.

He divided the show into two parts, the first dedicated to men’s followed by the women’s portion as he felt that each should get their equal moment in the spotlight. Both the male and female models had attitude to spare, walking determinedly through the rooms of the imaginary store, potentially a blueprint for the future, Demna said.

The two lineups were cohesive, reflecting Demna’s point of view. There were echoes of his days at Balenciaga in the Gothic tailoring, the oversize proportions and elongated shoes, but he succeeded in translating these elements into the Gucci universe. He carefully punctuated some of the looks with high belts with three horsebit closures, or splashed the GG logo on the linings of parkas, never overdoing it, which contributed to the luxurious feel of the collection. The first women’s look telegraphed Gucci’s equestrian legacy, but rendered more modern. Cue the sleek three-button fitted short jacket — a small silver horse bit on each lapel — over the tightest white breeches and riding boots that are sure to be hits.

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Demna reworked wardrobe staples, from the tartan skirt and waxed jacket to the preppy polo shirt, adding a polished oomph to all. Coats were tailored to a tee, as was the trench on Naty Abascal, the Spanish socialite who was just one representative of the surprising casting, which included Poppy Delevingne, Olympia of Greece, Amanda Harlech and Osanna Visconti di Modrone, among others. They wove their way through the expansive space in front of a guest list that ranged from Cardi B, Aryna Sabalenka, Jannik Sinner and Bianca Jagger to Sean Mendes, Naomi Watts, Ni Ni, bilkin and Edward Norton, to name a few.

Demna doesn’t shy away from daring looks, seen for example in a mock-leopard fur belted coat, a black va-va-voom evening dress with a deep cutout, or a flimsy powder-pink goddess gown that looked like it was merely propped onto the model’s body and held by a silver hook on the back.

In a preview, the designer said Gucci straddles bourgeois and pop culture, eccentricity and sensuality, Florence and Hollywood. He acknowledged that learning about Gucci’s history he realized the bourgeois element “was really interesting, but I was a bit scared of it. Can I do something with it? Because I’ve never touched that and this is exactly what I’m touching on a lot in this collection. I needed to kind of digest this information because sexy is easier for me, or sex appeal is easier to understand than the bourgeoisie in the Gucci prism. So I kind of, basically like a Lego, put all of these different elements together, and then tried to make it mine. It becomes my vision of Gucci based on everything I know about it now. This is the first [collection] in which I really put those elements together into my vision.”

The designer realized that “Gucci is not a mono-channel consumer, it has multiple personalities in its identity, narrowing them down to the two most dominant Gucci identities — the bourgeois and the eccentrics. This is this uniqueness of Gucci. I think not many brands have that, but Gucci is not one or another. If Gucci is only bourgeois, it’s hard for it to keep its identity. If it’s only eccentric, it also doesn’t work. So my idea was to find that very delicate balance between those two hyper radical identities and to put them into one Gucci identity.”

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Mission accomplished.