Florence, the historic birthplace of Gucci, welcomed the fashion house back for the presentation of the Gucci Cruise 2026 (Resort 2026) collection, a homecoming that resonated with symbolism. The Italian luxury brand, founded in Florence in 1921, selected the 15th-century Palazzo Settimanni, which houses the Gucci Archive, as the primary venue for showcasing the collection during this period of creative uncertainty.
Following Sabato de Sarno’s departure in February, the studio team designed the collection while the fashion world awaits the arrival of the new Creative director, Demna, formerly of Balenciaga. This interim collection exemplifies the unique challenge that luxury brands face during periods of leadership transition: creating commercial products without a singular creative vision.
“Gucci is Florence, and Florence is Gucci,” said Chief Executive Officer Stefano Cantino at the event, underscoring the connection between the brand and its founding city. The name Florence, derived from the Latin “Florentia” meaning “blossoming,” serves as an apt metaphor for a company working to regain momentum after experiencing declining sales.
The collection revealed a calculated exploration of the house’s archives containing approximately 46,000 Gucci pieces representing designs from all previous creative directors. Sharp observers noted elements that paid homage to the distinctive styles of Gucci’s past visionaries, such as crystal-adorned leggings reminiscent of de Sarno, sleek midi silk dresses and pencil skirts that echoed Frida Giannini’s aesthetic, furry coats and glamorous sparkling gowns inspired by Tom Ford, and Alessandro Michele’s signature pussy-bow blouses and ruched silk dresses.
What emerged was less a cohesive new direction than a retrospective compilation. This approach suggests a holding pattern rather than risk-taking; however, it makes commercial sense while awaiting new leadership.
Interestingly, the collection contained apparent nods to Demna’s forthcoming influence, particularly in the form of oversized jackets with structured shoulders, paired with ruched silk blouses and fluid pants – an ensemble spotted on Kering’s deputy Chief Executive Officer, Francesca Bellettini. This subtle preview suggests that corporate stakeholders may already be adjusting to the impending aesthetic shift.
When asked about the timeline for Demna’s first collection, Cantino artfully avoided specifying dates, describing the cruise collection as “a continuum that will lead to the most visible signs” of Demna’s direction. His careful choice of words suggests he is aware that the transition period has stretched on longer than is ideal for a brand like Gucci.
The presentation format itself broke with convention, offering a dual-viewing experience that revealed more about Gucci’s strategy than perhaps intended. The first showing, inside Palazzo Settimanni, targeted the most loyal VIP clients. This hierarchy of access highlights the ongoing tension in luxury between exclusivity and broader appeal.
Hours later, a second, more public-facing show featured celebrity guests, including Paul Mescal, Viola Davis, Julia Garner and Jeff Goldblum. Meanwhile, fashion journalists viewed the second show from the public square of Piazza Santo Spirito, adjacent to the archive. Models emerged from Via delle Caldaie, walking across ancient flagstones and around a bubbling fountain. They brought the archive collection literally into the streets of Florence.
The outdoor setting created momentary tension when rain threatened the proceedings – a reminder that even the most carefully orchestrated luxury spectacles are vulnerable to practical realities. Fortunately, the weather cooperated, but the momentary concern among staff underscored the high stakes of these elaborately staged events.
The collection featured numerous commercial pieces, including standout trench coats, mock-fur outerwear, and dramatic evening gowns – including a polka-dot design with a sculpted triple bow on one shoulder that looked good in photos but raised questions about its practicality. The iconic GG monogram appeared supersized on skirts and as a reinvented, single-graphic G on belt buckles, inlays, and shoe heels – logo-centric design choices that suggest a focus on recognizable brand signatures during this transitional phase.
Cantino noted that Gucci should be wearable from day to evening without distinction, reflecting the versatility demanded by contemporary luxury consumers. However, this practical perspective contrasts with some of the collection’s more theatrical evening wear, highlighting an ongoing tension in the luxury industry between fantasy and function.
The new Gucci Giglio bag debuted, honoring Florence with its name – the word “giglio” is Italian for lily, the flower that has symbolized the city since medieval times. Available immediately after the show, the bag signifies the “see now, buy now” strategy that continues to influence luxury retail, despite the industry’s general retreat from the concept.
Further expanding its commercial reach, Gucci introduced a new high jewelry collection created with Pomellato, another Kering-owned brand. Named “Monili” (Italian for “jewels“), the collection incorporates leather, gold, and pavé diamonds in pieces that were showcased during the presentation. This cross-pollination between Kering brands represents corporate synergy that makes financial sense, but it raises questions about creative independence.
The dual-location presentation strategy effectively demonstrated Gucci’s attempt to revitalize its archives by inserting historical elements into contemporary contexts. However, one might question whether this look backward serves as a creative crutch during uncertain times rather than as genuine innovation.
This studio-designed collection serves a purpose beyond mere commercial necessity during a transitional period. It confirms that Gucci’s design codes are still part of the modern fashion vocabulary and will provide Demna with substantial material to reinterpret once he officially begins his tenure. However, the collection’s reliance on past successes suggests an unwillingness to experiment and risk failure – perhaps understandably so, given the brand’s recent performance challenges.
©Photo: Gucci
