An Act Of Contrast: Sabato De Sarno's 2025 Cruise Collection

Down the concrete steps of an ominous grey Hitchcock worthy staircase, a waif-like creature descends. Clad in suede, silk and denim, one might deduce that following an evening stroll down the Southbank, a night at the museum was in store. This is Gucci Londra, an Annie Hall style of romanticism void of anything cringe that transcends the ordinary. A celebration of sorts, this is Sarno’s first attempt at a cruise collection, and is part of the esteemed brand’s agenda of debuting collections in specific locations across the globe. On Monday night, the Tate Modern was illuminated, and a host of dazzling A-listers were summoned to pay homage to Sabato de Sarno’s 2025 cruise collection. A presentation featuring 54 unique looks.

From Demi Moore and her dog to Salma Hayek, to Andrew Scott; to the celebrated Moss mother daughter duo, it was evident that everyone present was assembled to celebrate the fresh new canvas that Sarno has provided for the brand.

“The House’s return is driven by a desire to be immersed in its distinctive essence, its creative driving force with its limitless capability to put together contrasts, make them converse, and find ways to coexist.” Said Sarno to a fashion reporter about Gucci and its affiliation to London. Guccio Gucci worked as a bell boy at the Savoy Hotel once upon a time after all.

As part of the label’s rebranding, casual is the definitive adjective that can be used to describe Monday night’s oeuvre. Steering away from the glitz and excess of Michele’s designs, Sarno opts for looks that are simple yet resilient, but triumphantly chic. As many a fashionista knows, the most effortless looks are often the result of an expert craftsmanship, and this collection was no different. Following the trend of quiet luxury, Sarno’s ensembles seemed to whisper ever so gently as they were seen promenading through the Tate.

“The Tate Modern is the perfect cross-section to narrate the city’s essence, with its great Turbine Hall that welcomes and gathers everyone.” Informed Sarno of his choice of location for Monday night’s affair.

Inspired by Sarno’s memories, emotions and experiences fused with Gucci and its unique heritage, this collection is only the third show for Sarno and stakes are still considerably high for a new designer presenting at this level.

As a tangible discourse, the interplay between art and fashion was noted widely, and this collection seemed to offer a buffet of bite sized morsels from Sarno’s creative pantry. From the billowing chiffon neckties reminiscent of Michele’s pussybow blouses from collections past, to the label’s newfound signature hue: Ancora red, there was no shortage of references, and with the Tate’s galleries transformed into an oasis like mis en scene, this was the perfect setting for Sarno’s contemporary tour de force.

Chunky loafers, often with socks, sometimes without, have seemingly replaced the slingbacks and kitten heels of yesteryear, and while one does wonder how a several thousand-pound ensemble can be justified with a flat shoe, Sarno exhibits a humbler approach to female footwear. Oversized bags have taken charge over minaudieres, and archival designs were reinterpreted with the new Gucci Blondie bag, an era defining bag from the 1970s. The Gucci B bag from the 1950s which was first presented at the fall/winter 2024 men’s show was also on display in a plethora of colours.

A strapless, pastel hued dress in an ombre motif with a dizzying array of shimmering tassels was arguably the showstopper, while skirts, coats and even a suit printed with what appeared to be the common daisy, invigorated the collection with girlish frolic. The colour palette was crisp, with solid block colours being used to employ a sense of grown upness. For although the Gucci girl is undeniably young, this collection seemed to welcome a wider age bracket into its spectrum.

Piercing through the hall, Debbie Harry ‘s (who was in attendance) Heart of Glass echoed through the interiors, helping to create an atmosphere of playful fragility, contrasting the seriousness of the militant silhouettes.

For his final act, a series of Wes Anderson hued bomber jackets in leather came late to the party. Expertly fitted, the jackets were somehow relaxed looking, providing a solid juxtaposition to the sheer diaphony of the gowns that were worn underneath. Perhaps a uniform of sorts, these jackets provided an artistic affectation to a collection presented in a museum that was inspired by art. An artful utilitarianism. Feminine yet masculine. Practical yet whimsical. Sarno’s work is a play on opposition.

“Precision and extravagance” two words that do not necessarily oppose, but can be used to describe the sumptuous play on contrasts that was witnessed. Two words that we can only hope will continue to reverberate from Sarno and his work.