Alessandro Michele’s Gucci was disco and extreme and a circus of sequins, so when he left, it created quite a hole for someone to fill — his aesthetic had become inseparable from Gucci’s, which had moved away from its identity during the Tom Ford and Frida Giannini years. Sabato De Sarno comes from Prada, D&G, and Valentino; his early take on Gucci feels more like Prada than the other two, to me, and generally keeps things a lot simpler than his predecessor. It’s not terrible? Neither is it particularly forward-thinking; apparently bras as shirts are not going anywhere for a while.
