A store that was really a stage
For Gucci’s September 25 Milan show, the convention centre was rebuilt as an exacting prototype of a new luxury store. The gesture framed both the clothes and Demna’s larger proposition: Gucci should not become a museum of its past, but a living meeting place for sharply defined characters.
Not one silhouette, but decisive roles
Riding jackets and boots, crisp Milanese trenches and body-skimming evening dresses with a trace of Tom Ford’s 1990s glamour all shared the runway. The most convincing idea was twisted prep: bombers, popped collars, tartan kilts, oversized horsebits and low-slung jeans held by multiple belts. Tailoring sat closer to the body and shoulders turned pointed; in place of Demna’s former oversized reflex came a more controlled outline.
The detail that holds it together
The finale was a one-shouldered dress kept in place by a teardrop-shaped metal weight. It was engineering without becoming a trick—an exact metaphor for a collection trying to balance Gucci’s many inheritances. Menswear with late-1980s and early-1990s polish supplied an unexpectedly easy counterpoint.
The Fashion Week Review verdict: Demna did not produce one instantly quotable new Gucci formula. He did something more compelling: he showed that the house’s future may be built from several characters occupying the same world at once.
Source: Vogue Runway, September 25, 2026. Updated September 26, 2026.
