The launch of La Famiglia marks a pivotal chapter in Gucci‘s narrative. A new era that dares to be provocative, sensual, excessive, and unapologetic. The collection proposes an aesthetic reflection on what it means to be part of the Gucci universe today. It is an exercise in self-analysis—Gucciness elevated to a conceptual level—where the house’s legacy is confronted with contemporaneity through visual codes, characters, and stories that function as mirrors of a common collective spirit.
The artistic direction has found the perfect portraitist for this exercise in Catherine Opie. The photographer constructs a gallery of portraits that eschews fashion as a showcase, transforming it into a cartography of identity: each figure is an archetype, a reflection of the multiple masks that Gucci can adopt. It is an “extended family” that does not respond to blood ties, but to an aesthetic and attitudinal affinity.
Within this lineage, characters emerge who are both narrative and style. L’Archetipo embodies the origins through a monogrammed travel trunk that recalls Guccio Gucci’s initial vocation as a creator of valise pieces. La Incazzata bursts forth with a sixties “little red coat” that condenses her incendiary temperament; La Bomba plays with feline aggression in a key of stripes, pure volatility; and La Cattiva revisits the mythology of the femme fatale with severe elegance.
The story continues with Miss Aperitivo, which reclaims fashion as a pure celebration of the moment, while L’Influencer embodies digital culture and its obsession with visibility. Other characters, such as La Mecenate, La Contessa, La Sciura, and La Primadonna, reinterpret the traditions of the Italian aristocracy and bourgeoisie, projecting a cultivated and timeless elegance. Finally, Principino and La Principessa crystallize the theatricality of the spotlight: two sides of the same coin marked by ego and the need to be seen.
In terms of silhouettes, the collection straddles the margins of maximalism and restraint. The grandiloquence of a feather-covered opera coat alternates with the radical sobriety of a second-skin lingerie set. In the same gesture, the opulence of fine jewelry coexists with the structural nakedness of almost invisible garments. This oscillation constructs a narrative of pleasure and desire that overflows the feminine and infiltrates menswear, reinterpreting codes of the night: from sheer, body-hugging suits to swimwear transformed into evening gowns. A dolce vita 2.0.
Heritage signatures act as anchoring points. The Bamboo 1947, with almost eight decades of history, returns with updated proportions; the Horsebit loafer, iconic since 1953, remains intact in its recognizable power; the Flora reappears with a new nocturnal, almost gothic interpretation; and the GG Monogram expands without limits, occupying surfaces completely: from a camera lens to a pair of loafers, everything becomes a support for the logo. There is no restraint here: it’s the logic of “all or nothing.”
Sprezzatura, that quintessentially Italian gesture of effortless elegance, permeates the entire collection. Kitten slingbacks are worn with a shuffle, soft leather loafers are stepped on like slippers, garments that seem to have been thrown on with calculated disdain. It’s the mastery of spontaneity as style, an intangible value that defines Gucci as much as any logo.
With La Famiglia, Gucci isn’t just presenting a collection—it’s recapturing the power of storytelling. It’s looking back to project into the future, laying the groundwork for Demna’s vision, which will debut in February. This launch isn’t a parenthesis or a pre-show, but a declaration of intent: Gucci reasserts itself as a living legend of fashion, capable of revisiting its historical codes, transforming them into a contemporary key, and, at the same time, continuing to dictate the course of global aesthetics.
Sigue toda la información de HIGHXTAR desde Facebook, Twitter o Instagram
You may also like...
