If you knew nothing about Gucci and saw its Spring/Summer 2027 collection without a logo in sight, you could still confidently guess where it came from. This is Italian fashion in its most recognisable form: glamorous, sexy, polished and made to be worn.
Demna called the collection The Store Show, turning his attention to the place where runway fashion eventually has to prove itself. Once the set, casting and Fashion Week conversation disappear, does someone actually want to walk into a store and buy the clothes?
At Gucci, the answer appears to be the point.
There is an immediacy to the collection: sharp tailoring, fitted dresses, fluid skirts, leather jackets and coats build a true wardrobe. Silhouettes follow the body, fabrics move. Glamour comes through shine, colour and proportion rather than complicated styling.
The cast made the clothes feel lived in too. Sabine Getty returned to the Gucci runway after making her catwalk debut at Demna’s Cruise 2027 show in Times Square earlier this year. Her second appearance feels particularly suited to this Gucci: a familiar face associated with fashion and high society wearing clothes that look designed for a life beyond the runway.
It follows an idea Demna has been developing since arriving at the house. He has described his vision of Gucci through “chic”, “elegance” and “Italian-ness”, alongside the nonchalance of la dolce vita. He has also spoken about creating FOMO: in this case, the feeling of seeing something and immediately wanting either to own it or become the person wearing it.
The Store Show takes that desire to its logical conclusion, fashion ends up on a rail and someone has to try it on.
That practicality doesn’t make the collection basic. There is something distinctly Italian in its confidence: clothes that understand the appeal of looking expensive, getting dressed up and being noticed. Even its more straightforward pieces carry the suggestion of somewhere to go afterwards.
Perhaps that is what makes Demna’s Gucci increasingly clear. After years spent building fashion around disruption, his proposition here feels surprisingly straightforward. Make a great coat. Make a sexy dress. Make a bag somebody wants to carry. Then put it in the store.
Sometimes wanting the clothes is enough.
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