Gucci’s New Dawn: Demna Takes the Helm

Gucci wiped its Instagram clean. No archive, no teaser. Just white space. A dramatic blank canvas. Then: La Famiglia. The debut of a new era.

This is not a quiet beginning. It is a statement of intent. Demna, freshly appointed as Gucci’s Creative Director, translates heritage into theatre, identity into archetype.

Because when Demna steps in, Gucci resets expectations.

37 Faces, 37 Stories

Gucci doesn’t just show clothes this season. It shows people: thirty-seven of them. Shot by Catherine Opie, each portrait becomes less about garments and more about the lives that inhabit them.

Every frame whispers identity. Every fold, every gesture, every glance holds weight. The clothes do not command; they accompany.

Fashion as Persona

Scroll Gucci’s feed and you’ll see it: under each image, a marker of persona. “Ragazza.” “Nerd.” “L’Influencer.” “Gallerista.” “La Diva.”

Not just looks, but archetypes. Not just outfits, but characters. Each piece of fabric becomes tethered to a way of being, an imagined self. Gucci transforms garments into mirrors. What you see is not just a jacket, a scarf, or a bag—but the version of you who might wear it.

Diversity is not an accessory here, it is the point. Age, gender, background, body. Every portrait a proof that Gucci’s world has no single face. It’s an atlas of selves. A gallery of possible lives.

Gucci is Back

Heritage runs through the collection with deliberate precision. The iconic Bamboo 1947 bag reappears, reimagined in updated proportions, while the Horsebit loafer and GG-monogram belt return as enduring emblems of the house. Menswear is redefined through sheer tailoring and black-tie swimwear, as feathered opera coats and translucent dresses push Gucci confidently toward unapologetic extravagance.

This debut is more than a collection. It’s a reset, a bold stroke of personality across a blank page. Gucci under Demna is not cautious. It is maximal, theatrical, unafraid. La Famiglia is just the opening act.