FLORENCE — The city of Florence was originally named Florentia, which in Latin means blossoming. Therefore it was only fitting that Gucci would return to the city where it was founded in 1921 to show its cruise 2026 collection — also the home of the Renaissance — as it works to once again flourish after seasons of declining sales.
Awaiting the arrival of new creative director Demna, following the exit of Sabato De Sarno in February, the collection was designed by the brand’s team and unveiled at the Gucci Archive in the 15th century Palazzo Settimanni.
Gucci is one of myriad brands in a holding pattern and relying on their studio teams, many of whom have done an admirable job. But in the end what is a brand to do in the interregnum since it still needs to create collections to have something to sell even though most of these collections lack a fashion zing?
“Gucci is Florence and Florence is Gucci,” said chief executive officer Stefano Cantino on the sidelines of the show. “The collection has a cinematographic soul that is partly reflected by the choice of the music,” referring to the soundtrack of the Claude Lelouch 1966 film “A Man and a Woman.”
The design team was clearly influenced by the archive, which in the building comprises around 46,000 Gucci pieces and designs by all the previous creative directors over the years. Leggings sprinkled with crystals from De Sarno? Check. The sleek, midi silk dresses and pencil skirts à la Frida Giannini? Check. The furry coats and sexy sparkling gowns à la Tom Ford? Check. Alessandro Michele’s pussy-bow blouses and ruched silk dresses? Check. However, there was also a whiff of Demna, with his oversized jackets with strong structured shoulders worn over ruched silk blouses and fluid pants — seen on Kering’s deputy chief executive officer Francesca Bellettini.
Pressed to clarify when Demna will show his first collection for Gucci, as he is expected to present his Balenciaga couture swan song in July, Cantino smoothly dodged the question, saying that the cruise collection “is a continuum that will lead to the most visible” signs of Demna.
“I don’t want to think of a date. From the day we announced his arrival [in March] I have asked for his thoughts. It will be a progressive growth.” In any case, the executive underscored that Gucci has a history that spans more than a century and “its own strong identity,” highlighting the general “narrative and we will work hand in hand.”
“How you do things matters more than how many you do. This show is a powerful expression of Gucci’s identity, staged in the place that, more than any other, safeguards our history — the Archive,” Cantino continued. “With deep Florentine roots, Gucci has always drawn strength from a tradition of artisanal excellence and cultural richness. Today, we honor creativity, craftsmanship, and heritage through a collective effort that reflects the depth and resilience of our brand.”
He praised the “extraordinary teamwork,” as the brand enters into a new chapter in its history.
Under the frescoed and wood-ceilinged rooms of the 15th century building, the models walked on their feathery sandals, wearing brocade jackets, leather bombers and lace blouses, watched by Viola Davis and her husband Julius Tennon; Julia Garner; Paul Mescal; Jeff Goldblum and his wife Emilie Livingston as well as Kering chief François-Henri Pinault.
The GG monogram appeared supersized on a skirt or in a reinvented single graphic G on belt buckles, inlays, and the heels of shoes.
There was plenty of covetable outerwear, including standout trenches and mock-fur coats, but also long gowns, such as a dramatic polka-dot design with a sculptured triple-bow on one shoulder — after all, Cantino said Gucci should be worn day to evening without any difference.
The new Gucci Giglio bag pays homage to the city and to the giglio — the Italian word for lily, the emblem that has symbolized Florence since medieval times — and will be available immediately after the show.
Gucci’s leatherwork heritage was further explored in a new high jewelry collection co-created with Pomellato, also controlled by Kering, and named “Monili” — Italian for jewels. Drawing inspiration from archival Pomellato designs from 1984, leather, gold, and pavé diamonds came together in a necklace and minaudiere featured in the show.
Further reinforcing the connection to Florence, the models in the second show of the day walked out on the Piazza Santo Spirito, where attendees sat in the cafés and onlookers watched from the windows in the houses surrounding the square.
It all showed how much Gucci and its iconic design codes are a key part of modern fashion’s lexicon. They give Demna plenty to work with — whenever he starts.
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