Rewrite
And so to Chiltern Firehouse in Marylebone, where the Gucci crew welcomed a host of international guests to London with a cocktail dinner. There’s Bryanboy, in head-to-toe Gucci princess mode. He was looking sharp in tailored Bermudas, a skinny-rib knit and a heavy gold necklace from the brand’s new jewellery range, “just a little gold… subtle,” he says with a wink. In from Paris is gorgeous Veronika Heilbrunner, carrying an adorable Gucci Bamboo 1947 mini bag. This little item is a masterclass in modern heritage styling and its shape hasn’t changed in more than 60 years, but the tweaked proportions and high-shine leather finish make it feel oh-so- now. Jess Cartner-Morley replied with a cute little Tom Ford- era Gucci shoulder bag, which she says she gets out every year, reminding us that a good Y2K look still has legs. Guests click-clack past in Signoria slingbacks and horsebit pumps, juggling their mini Jackie bags (slung on gold chains) with champagne and arancini (always a good combo).
The day of the show was a regular office day for me, but Gucci’s international guests were kept busy with exhibition visits, shopping and lunch dates before a cocktail at the Savoy, which has a special place in the Gucci story. At the tender age of 18, founder Guccio Gucci had his lightbulb moment while working as a luggage porter at the hotel. He returned to Italy and in 1921 began making luxury luggage inspired by the hotel’s glamorous guests.
Nyanderi wears GUCCI CRUISE 2025
Outside the hotel, a fleet of limousines were on hand to take guests on a short journey to Tate Modern, where the show was being held. There are handsome greeters and then there are Gucci’s handsome greeters, as we see a flank of ultra-chiselled charmers lined up outside the Tate to meet guests. They usher 10’s supremo, Sophia Neophitou, and I past the flanks of screaming fans (not screaming for us but for Lee Know of K-pop boyband Stray Kids, Dua Lipa, Paul Mescal, Solange, Lucky Love, Little Simz, Debbie Harry and Demi Moore, who carries her emotional support chihuahua, Pilaf). We follow behind Lila Moss (cute in a banana-yellow shorts-suit and platform loafers) onto the path next to the Thames for a tantalising glimpse of London at dusk before going inside the vast building, where we sip champagne and admire the guests. “People look really good in it,” said one impressed attendee on the well-dressed crowd and their tiny lace-trimmed cocktail dresses, Ancora red leather bra tops and pencil skirts, horsebit play suits, and sharp-shouldered coats and suits. They accessorised with an astonishing array of bags. There were GG shoppers adorned with Jellycat charms, Jackies of every size and colour, including green croc and a snazzy snake version of the Gucci stripe, silver Bamboo minis and quilted GG Marmonts, as well as the odd Dionysus and Gucci horsebit chain bag. The people-watching was golden.
It was soon time to head down to The Tanks gallery space for the show. I’d been to fashion shows at the Tate before, but nothing like this. The vastness of the concrete space can feel overwhelming and impersonal, but Gucci and an army of horticulturalists have transformed it, over the past five days, into to a lush garden (with all the plants donated to community projects after the show). This was the designer’s third show for the brand and his first destination show, with each outing demonstrating a little more of what fires him up. “Englishness with an Italian accent,” said De Sarno of his London moment. “I owe a lot to this city, it has welcomed me and listened to me. The same is true for Gucci, whose founder was inspired by his experience there.” On the catwalk, the designer presented a perfect marriage of English spirit and Italian flair.
The first looks laid out his approach. A series of exquisitely crafted suede pieces – tailored jackets, caban coats, hot pants and mod tunics – all bore the unmistakable touch of Gucci’s artisans. Worn with Sloane-y pussy- bow blouses, made sexy in sheer wisps of chiffon, baggy jeans, punky, studded brothel creepers, monogrammed ballet pumps and supersized Jackie bags (big enough, perhaps, to kill off the mini bag fad?). It brought into focus the De Sarno effect. Gucci today equals classic-meets-oh-so-now-proportions, served with an unmistakable dash of Italian craft and sensuality. The show closed with a series of diaphanous, pleated chiffon gowns, light as clouds. Fast forward a few months and Daisy Edgar-Jones would wear a sky-blue version on the red carpet at the Toronto International Film Festival, bringing a softness and sensuality to the usual step-and-repeat bravado. De Sarno’s mother was the first to her feet to applaud her son, who bounded down the catwalk to take his bow like a puppy.
Annie wears GUCCI CRUISE 2025 and Gucci B bag by GUCCI
Afterwards, the 600 guests were joined by 300 fashion students, who’d watched the catwalk from a screening room in the museum, and a late shift of London’s premier party people. Under a three-storey-high glitter ball in the Turbine Hall, the cocktails flowed freely: two huge bars kept everyone in Moscow mules, negronis and margaritas. It was one of those rare fashion parties where inhibitions were lost. Mark Ronson got on the decks to play irresistible bangers as Kate Moss tossed her hair and grooved next to him in the DJ booth. Arca followed him, cranking the crowd into ever more abandon, and the Gucci good times rolled. People danced, drank, laughed, flirted and gossiped until the museum finally kicked everyone out at around 3am.
It was Gucci for breakfast the next morning as we headed to its flagship Bond Street boutique for the re-see and a chance to get up close with the craft in the collection. The racks and mannequins displayed sumptuous leather jackets, cute crocheted hot pants, dresses dotted with hand-applied daisy embroidery, coats glistening with iridescent bugle beads and jeans jazzed with daisy appliqué and beaded flapper fringes. These are clothes that have a close-up charisma – there’s an intimacy of touch, feel and detail to them. Meanwhile, the sales assistants were doing a brisk trade in rich, caramel-brown Blondie bags, which were seen in the show. Another heritage shape that’s been given a sleek modern makeover, a limited number were for sale to eager customers today. Micro detail and macro impact, the Gucci three-day party wound down to the sound of the tills ringing.
Taken from 10+ Issue 7 – DECADENCE, MORE, PLEASURE – out NOW. Order your copy here.
CRUISE 2025: THE LONDON LOOK
Photographer DAVID VASILJEVIC
Fashion Editor SOPHIA NEOPHITOU
Text CLAUDIA CROFT
Models NYANDERI DENG and ANNIE ARNANDER at Select Models
Hair HIROSHI MATSUSHITA using ORIBE
Make-up ANDREW GALLIMORE using GUCCI Beauty
Manicurist REME GRIFFIN
Digital operator MAX BROWN
Photographer’s assistant JOSH REA
Fashion assistants GEORGIA EDWARDS and LUCA PARKES
Production ZAC APOSTOLOU and SONYA MAZURYK
Casting SIX WOLVES
Clothing and accessories throughout by GUCCI CRUISE 2025, collection by Sabato De Sarno
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
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And so to Chiltern Firehouse in Marylebone, where the Gucci crew welcomed a host of international guests to London with a cocktail dinner. There’s Bryanboy, in head-to-toe Gucci princess mode. He was looking sharp in tailored Bermudas, a skinny-rib knit and a heavy gold necklace from the brand’s new jewellery range, “just a little gold… subtle,” he says with a wink. In from Paris is gorgeous Veronika Heilbrunner, carrying an adorable Gucci Bamboo 1947 mini bag. This little item is a masterclass in modern heritage styling and its shape hasn’t changed in more than 60 years, but the tweaked proportions and high-shine leather finish make it feel oh-so- now. Jess Cartner-Morley replied with a cute little Tom Ford- era Gucci shoulder bag, which she says she gets out every year, reminding us that a good Y2K look still has legs. Guests click-clack past in Signoria slingbacks and horsebit pumps, juggling their mini Jackie bags (slung on gold chains) with champagne and arancini (always a good combo).
The day of the show was a regular office day for me, but Gucci’s international guests were kept busy with exhibition visits, shopping and lunch dates before a cocktail at the Savoy, which has a special place in the Gucci story. At the tender age of 18, founder Guccio Gucci had his lightbulb moment while working as a luggage porter at the hotel. He returned to Italy and in 1921 began making luxury luggage inspired by the hotel’s glamorous guests.
Nyanderi wears GUCCI CRUISE 2025
Outside the hotel, a fleet of limousines were on hand to take guests on a short journey to Tate Modern, where the show was being held. There are handsome greeters and then there are Gucci’s handsome greeters, as we see a flank of ultra-chiselled charmers lined up outside the Tate to meet guests. They usher 10’s supremo, Sophia Neophitou, and I past the flanks of screaming fans (not screaming for us but for Lee Know of K-pop boyband Stray Kids, Dua Lipa, Paul Mescal, Solange, Lucky Love, Little Simz, Debbie Harry and Demi Moore, who carries her emotional support chihuahua, Pilaf). We follow behind Lila Moss (cute in a banana-yellow shorts-suit and platform loafers) onto the path next to the Thames for a tantalising glimpse of London at dusk before going inside the vast building, where we sip champagne and admire the guests. “People look really good in it,” said one impressed attendee on the well-dressed crowd and their tiny lace-trimmed cocktail dresses, Ancora red leather bra tops and pencil skirts, horsebit play suits, and sharp-shouldered coats and suits. They accessorised with an astonishing array of bags. There were GG shoppers adorned with Jellycat charms, Jackies of every size and colour, including green croc and a snazzy snake version of the Gucci stripe, silver Bamboo minis and quilted GG Marmonts, as well as the odd Dionysus and Gucci horsebit chain bag. The people-watching was golden.
It was soon time to head down to The Tanks gallery space for the show. I’d been to fashion shows at the Tate before, but nothing like this. The vastness of the concrete space can feel overwhelming and impersonal, but Gucci and an army of horticulturalists have transformed it, over the past five days, into to a lush garden (with all the plants donated to community projects after the show). This was the designer’s third show for the brand and his first destination show, with each outing demonstrating a little more of what fires him up. “Englishness with an Italian accent,” said De Sarno of his London moment. “I owe a lot to this city, it has welcomed me and listened to me. The same is true for Gucci, whose founder was inspired by his experience there.” On the catwalk, the designer presented a perfect marriage of English spirit and Italian flair.
The first looks laid out his approach. A series of exquisitely crafted suede pieces – tailored jackets, caban coats, hot pants and mod tunics – all bore the unmistakable touch of Gucci’s artisans. Worn with Sloane-y pussy- bow blouses, made sexy in sheer wisps of chiffon, baggy jeans, punky, studded brothel creepers, monogrammed ballet pumps and supersized Jackie bags (big enough, perhaps, to kill off the mini bag fad?). It brought into focus the De Sarno effect. Gucci today equals classic-meets-oh-so-now-proportions, served with an unmistakable dash of Italian craft and sensuality. The show closed with a series of diaphanous, pleated chiffon gowns, light as clouds. Fast forward a few months and Daisy Edgar-Jones would wear a sky-blue version on the red carpet at the Toronto International Film Festival, bringing a softness and sensuality to the usual step-and-repeat bravado. De Sarno’s mother was the first to her feet to applaud her son, who bounded down the catwalk to take his bow like a puppy.
Annie wears GUCCI CRUISE 2025 and Gucci B bag by GUCCI
Afterwards, the 600 guests were joined by 300 fashion students, who’d watched the catwalk from a screening room in the museum, and a late shift of London’s premier party people. Under a three-storey-high glitter ball in the Turbine Hall, the cocktails flowed freely: two huge bars kept everyone in Moscow mules, negronis and margaritas. It was one of those rare fashion parties where inhibitions were lost. Mark Ronson got on the decks to play irresistible bangers as Kate Moss tossed her hair and grooved next to him in the DJ booth. Arca followed him, cranking the crowd into ever more abandon, and the Gucci good times rolled. People danced, drank, laughed, flirted and gossiped until the museum finally kicked everyone out at around 3am.
It was Gucci for breakfast the next morning as we headed to its flagship Bond Street boutique for the re-see and a chance to get up close with the craft in the collection. The racks and mannequins displayed sumptuous leather jackets, cute crocheted hot pants, dresses dotted with hand-applied daisy embroidery, coats glistening with iridescent bugle beads and jeans jazzed with daisy appliqué and beaded flapper fringes. These are clothes that have a close-up charisma – there’s an intimacy of touch, feel and detail to them. Meanwhile, the sales assistants were doing a brisk trade in rich, caramel-brown Blondie bags, which were seen in the show. Another heritage shape that’s been given a sleek modern makeover, a limited number were for sale to eager customers today. Micro detail and macro impact, the Gucci three-day party wound down to the sound of the tills ringing.
Taken from 10+ Issue 7 – DECADENCE, MORE, PLEASURE – out NOW. Order your copy here.
CRUISE 2025: THE LONDON LOOK
Photographer DAVID VASILJEVIC
Fashion Editor SOPHIA NEOPHITOU
Text CLAUDIA CROFT
Models NYANDERI DENG and ANNIE ARNANDER at Select Models
Hair HIROSHI MATSUSHITA using ORIBE
Make-up ANDREW GALLIMORE using GUCCI Beauty
Manicurist REME GRIFFIN
Digital operator MAX BROWN
Photographer’s assistant JOSH REA
Fashion assistants GEORGIA EDWARDS and LUCA PARKES
Production ZAC APOSTOLOU and SONYA MAZURYK
Casting SIX WOLVES
Clothing and accessories throughout by GUCCI CRUISE 2025, collection by Sabato De Sarno
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
