Is the glory of Gucci really ebbing?
How many seasons does a designer need to resuscitate a brand in doldrums? At Gucci, Sabato de Sarno was into the first anniversary at the house; he just showed his fourth main collection. But it seemed that he was in no hurry to make things better, to improve the designs, to return excitement to the brand. Mr de Sarno has not exactly been garnering raves for his collections so far. While it could be that Gucci's slow crawl in rejuvenating the brand is a strategic decision to the improvement of their bottom line, but consumer patience could be wearing thin. The Financial Times reported in July that Q2 sales dropped by 19 percent, compared to the same period last year. Parent company Kering noted that "a continuing marked decrease in Asia-Pacific" was unavoidable. Yet, Gucci, its biggest brand in their stable that accounts for half of revenues and two-thirds of profits, claimed that Mr de Sarno's products were well-received.
Repeated visits to Gucci stores in the region have not revealed any significant turnaround, at least not on the selling floor. In fact, the stores have remained relatively quiet, with nary a queue outside, whether in Hong Kong, Bangkok, Kuala Lumpur, or here. Most of the stores have not been brimming with merchandise as they once were. Or, have the products really been snapped up? If the runway shows are any indication, that would be surprising. Mr de Sarno tore off the playbook of Alessandro Michele's for his men's show last June—he dabbled in the campy—but for the women's now, he went further back. He offered pieces that might not look out of place in the Lady Gaga vehicle, 2021's House of Gucci and those that seemed to be cursory homage to the Tom Ford years. And worse the tenure of the tragic Frida Giannini. He described them, pre-show, by the oxymoronic "casual grandeur". From the first outfit, we knew he was not going to live up to that. But the second look—singlet and slacks, it was clear the only way was not up.
Mr de Sarno was not even aiming for interesting. He clung to what could only be described as his comfort zone, the let's-not-break-free confines so quickly established before he could assert even a defining look. So much of the collection inevitably elicited, have we not seen that before. Take that maxi-dress—in the Ancora red ("his" Ancora red, we were reminded, and which appeared often)—with the halter neckline achieved by folding the fabric over a gold choker. Or the many sheer lingerie looks worn over granny panties that even Kim Kardashian would have found wanting. Or that sole black mini tank dress that desperately screamed out-of-place. It was not immediately clear who Mr de Sarno was targeting. The influencer crowd always in need of total looks if not free clothes? The clueless movie and pop stars attending in staggering numbers? Sadly, much of the collection were the kind of apparel that would allow Shein and Temu to produce and sell, by next week.
Mr de Sarno did try to suggest that attempts were made. Cords above necklines or waistlines, like grab bars atop parapets, showed a crack at something complicated. But for every dalliance with the less standard, there were just as many that made a pact with the banal. Puzzling and downright disagreeable was the wife-beater tee (including high-collared ones), paired with a embroidered mini tulip skirt. The tramp-and-his-lady ingenuity, poised for a TikTok appearance? There were, to be certain, a few dresses that might be considered fetching, but there were not enough of them to lend even a smidgen of soundness that would return Gucci to the top of the pile of hype. For the finale of the show, the song chosen to accompany the models was the mid-'80s Euro hit by Fiordaliso, Non Voglio Mica la Luna—or I Don't Really Ask for the Moon. Perhaps, Sabato de Sarno should.
Screen shot (top): gucci/YouTube. Photos: Gucci
No comments:
Post a Comment