On 13 March, Kering announced that Demna Gvasalia will be Gucci’s next creative director. The designer, who currently holds the same position at Balenciaga, will leave in July to take the reins at the Florentine fashion house. You know that emoji with wide eyes, an open mouth, and hands on the face that we all use to succinctly communicate shock? Well, that’s how half the fashion world reacted to Demna’s appointment yesterday, because “Madame, fashion-as-we-knew-it-doesn’t-exist-anymore?”
The other half, on the other hand, uncorked bottles because a storyteller is returning to Gucci. Joking aside, Demna’s selection marks a departure from the past: he is the first star designer who does not come straight from within Gucci and already has a well-defined aesthetic. At Balenciaga, he has played with provocation, focusing on unusual collaborations. In this article, we attempt to understand where Gucci will go next—particularly in terms of products and supply chain. Because, as we pointed out in the March issue of our monthly magazine, we are still talking about a veteran.
When will we see the results?
In the meantime, we will not see a Demna collection for Gucci until next September. At Thursday’s announcement, Kering specified that the designer will bid farewell to Balenciaga with the July couture show. He will then begin his buen retiro at Gucci. As BoF notes, “Demna will have to reaffirm the fashion authority of the biggest Italian luxury brand” while balancing enthusiasm with brand positioning—in other words, his distinctive signature and what the brand represents in the minds of consumers.
At Balenciaga, Demna has always respected the brand’s DNA, moulding it to fit the contemporary landscape, and it is likely he will do the same with Gucci. Bernstein’s analysts, however, remain lukewarm about the appointment. In his collections for Balenciaga, the designer has frequently blended haute couture with streetwear, which, according to analysts, is now out of fashion. Additionally, the scandals surrounding Balenciaga in 2022 (involving allegations of paedophilia) could cast a shadow over his new role.
The spirit of the times
However, Demna will need to adapt his narrative to the spirit of the times, which has evolved since he arrived at Balenciaga in 2015. He must also determine who Gucci’s target audience is today—navigating between a more “adult” clientele that favours refined, linear products and Gen Z consumers seeking bold, attention-grabbing pieces. The products themselves will be an intriguing area of exploration. At Balenciaga, the designer has often oscillated between provocation and entry-level products featuring prominent logos.
A renewed focus on logos could provide continuity with Alessandro Michele’s previous work at Gucci. The two designers, incidentally, are friends and share the ability to use fashion as a critique of reality—and of the system itself. When Michele was at Gucci, they even collaborated with the two brands. Notably, couture—a medium that allows designers to fully express their storytelling—was a significant advantage for Michele in his transition from Gucci to Valentino. However, Demna will lose it at Gucci, which does not produce haute couture.
The loose ends
There is, however, a key difference between Demna and Michele, who rose through Gucci’s ranks: the scale of leather goods production. Balenciaga’s leather goods division is hardly comparable to Gucci’s, nor does it carry the same financial weight for Kering. While Michele understood the Florentine brand’s immense influence on the supply chain, Demna may require time to internalise this responsibility.
Then, there is the matter of provocation. To avoid creative stagnation, the designer must demonstrate that his analytical depth has evolved, keeping pace with the constant changes in fashion and society. Gucci has evidently recognised that, following the more moderate approach of Sabato De Sarno (which failed to resonate), a return to a divisive designer was necessary—bringing both advantages and risks. Because one thing is certain: fashion has become a matter of fandoms. And fans are ready to celebrate—or condemn—Demna at the first sign of success. Or failure.
We got it wrong
In the March issue of La Conceria, we questioned Kering’s strategy regarding its creative directors. Until yesterday’s appointment, Demna Gvasalia was one of the longest-serving designers in the fashion industry, while Sabato De Sarno—his predecessor at Gucci—lasted only two years. These are different profiles, but in hindsight, they reveal much about Kering’s strategy. Instead of seeking an outsider, Kering has chosen to entrust Gucci to an insider—someone whose work is already well understood, along with its potential weaknesses. What is certain is that all the puzzle pieces are gradually falling into place. In just a few more months, Gucci’s new era will be fully established.
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