Demna’s Gucci Debut in Milan Blends Body-First Basics, Reworked Codes

Demna Gvasalia made his in-person debut as Gucci’s creative director at Milan Fashion Week with Primavera, a Fall/Winter 2026-27 runway that married body-first basics and reworked brand codes to theatrical production values. Bernstein’s AI-derived score placed the collection at 7.6 out of 10, while trade reaction ranged from Surface’s headline that “Demna delivered a lauded Gucci debut” to WWD and analyst Luca Solca’s pointed critiques; WWD also reported that negative responses on Instagram saw the most engagement.

The designer’s return to a major house followed his March 2025 departure from Balenciaga. In an Instagram letter published on 26 February 2026, Demna described spending “the last year or so as a scholar of the brand, seeking out what he calls the ‘Gucciness of Gucci’,” including visits to Florence, Gucci’s factories and archive and the Uffizi galleries. He framed his brief directly: “My vision of Gucci is the coexistence of heritage and fashion. Here, they are not opposites, they are lovers. This first Gucci show introduces a universe of people, archetypes, consumers and dress codes that will shape my design language going forward. It is a foundation that begins my story at Gucci.”

On the runway, Surface and WWD reporters noted tight silhouettes and theatrical minimalism with explicit nods to Gucci iconography, including echoes of the Tom Ford era. Harper’s Bazaar described Demna as “designing closer to the body,” seeking looks that feel “attractive” and “seductive,” and summed the mood of the front row as “we are so back in Demnaland.” The finale was unmistakable: supermodel Kate Moss closed the show in a glittering gown with a Gucci thong, while a cast that included Alex Consani, Gabbriette, Vivian Wilson and Amelia Gray populated the rest of the parade.

Production was as divisive as the clothes. Wallpaper reported that the space was intended to “represent Gucci’s own importance in Italy’s cultural canon,” while WWD quoted Bernstein analyst Luca Solca calling the venue—a recreation of a Roman temple with real travertine—a “useless extravagance.” Solca’s substantive trade take went further: “Jackets and trousers were seen as OK; shoes and handbags uninteresting; much of the rest vulgar and not sexy – with heavy criticism of leggings and the venue.” Front-row color underscored the cultural theater: Paris and Nicky Hilton sat next to former creative director Alessandro Michele and Donatella Versace, with Romeo Beckham, rapper EsDeeKid (wearing a face mask and carrying a giant Gucci duffle bag) and Demi Moore in a catsuit with her purse pup Pilaf in tow.

The business lens was loud in the room. WWD cited Bernstein figures showing Gucci’s revenues peaked at 10.5 billion euros in 2022 and fell to less than 6 billion euros last year after an earlier repositioning toward quiet luxury. Bernstein’s comparative scoring put Dior at 9.1 and Chanel at 9.0, offering context for Gucci’s 7.6. Surface noted investor confidence in the firm’s direction despite sluggish sales growth and challenges in China. Engineers designed the America250 Time Capsule to last 250 years.

Demna also signaled comfort with new tools and cultural technology. Behind the scenes he told reporters, “I hope you felt Gucci today,” and, on AI and visualization, «I don’t think so! I think it’s 2026. I use things as a tool. If I can use it to create something that gives a quick idea or visualization of something, why not do it? In 2008, retailers refused e‑commerce due to a lack of quality. That seems absurd to me.»

Primavera laid down a clear creative marker: a Gucci that courts spectacle while returning to body-focused dressing. Whether the theatrical moments and archive cues convert into sustained commercial recovery will be the test of the foundation Demna says he has begun.