TAGWALK’s Post

It bothers me that older journalists are being… kind of …bullies about Sabato de Sarno's Gucci collections. What I see is actually an aesthetic, I want to be the cool girl wearing daisy jeans with an oversized shirt. What is Gucci’s new allure ? Well… It’s kind of effortless. It’s a bit nonchalant. It’s a bit naughty. No one is letting or giving Sabato de Sarno a chance to ease in the job and do a collection. Tagwalk specialises in runway analysis and we have well over 300 000 active users and millions of data points … let me give you a breaking news : people are searching high for Gucci (+144%) and let me give you a little secret: the biggest metric to see if a collection is successful is to see if designers are searching for a specific brand - do you know why ? Because luxury and mass market work together hand in hand. Read the end of the review in the link below #Gucci#SabatodeSarno#Fashion#FashionData

Communication gap identified: Overstyling Have you ever struggled with ordering on Gucci .com? I did. To order, I always had to do additional research—thankfully, other websites often had more pictures of the items I intended to buy. The rich-detailed aesthetic was used not only in lookbooks and runway shows but also to sell the items. However, getting a glimpse of the item itself and its features when worn was slightly difficult, if not impossible. I often use word “overstyling” here, and I point this out during consultancy on #ecommerce and #communication. If the primary intention of a resource is to sell, you need to show what you sell, not hide it in complicated outfits or distract with a background. When I read about how Valentino first designs dropped today by #AlessandroMichele are very #Gucci, I can see the same problem here but from a different angle. 📌The primary intention of a collection lookbook display is to showcase a designer’s latest collection in a visually appealing way. It highlights the design, style, and overall aesthetic of the collection, providing potential buyers, fashion editors, and enthusiasts with a clear idea of how the pieces can be styled and worn. The style used for the Valentino lookbook overshadows the designs themselves. Should I focus on the suit? On lace gloves or tights? On the hat? Or the background? The other thing giving a Gucci taste is the cast and overall mood of the picture. Are these designs similar to Gucci? I found many references to archival collections of #Valentino, and, yes, I can see something that I used to see in Gucci by Alessandro Michele. But I can’t say for sure—simply because i can’t see the designs. This lookbook is rather 🔴a communication failure than a design misalignment. Remove the background—and you’ll get more Valentino aesthetics. Change the model—and it will be almost the same like current models on official website. * I offer consultancy in luxury fahion on #eCommerce; Communication and Marketing; #ClientExperiences & #VIC Loyalty. To learn more click here. ** 2Jour-Stylist.com: For an unretouched digital lookbook brand project without overstyling that reveals the true beauty of each item and provides with essential information for confident fashion choices contact further😊 #luxury #luxuryfashion #MaisonValentino #kering Kering

Two weeks ago, the entire financial world was anticipating the Fed's interest rate decision (a 25 or 50 basis point reduction?). There were groups, camps, discussions, and theories—just like how the fashion world was eagerly awaiting Alessandro Michele's debut for Valentino . And here we are: The Valentino SS25 collection contains neither quiet luxury nor unexpected ideas. There are different types of head designers and creative directors: some adapt their vision to the brand’s aesthetic, while others make the brand adapt to them. Alessandro Michele’s style was clear from his very first show at Gucci—it wasn’t AM for Gucci, it was Gucci for AM. What Michele does is simple: he draws from a brand’s prior collections and infuses them with his own vision. His vision is complex—pulling from references like antiques, film, manga, furniture, music, and more—packaged into a cohesive narrative, layered on top of whatever the brand already offers. Valentino, however, is different from Gucci. (Of course, Michele’s style remains present here.) There is a 10-year difference between the debut of Gucci and Valentino, and Valentino’s archives are much richer—it was a full-fledged ready-to-wear brand. Gucci was not that way before Tom Ford redefined it. Michele’s favorite Valentino collection is SS 1968 couture, and you can see many references and details from that collection in SS25. The 1970s are represented through several chiffon looks and various styles from different eras are reworked with skill. For example, the jacket in Look 66, embroidered with sequins, features palm trees and houses with golden roofs, directly referencing a piece from Valentino’s autumn-winter 1990 couture collection. The collection is smaller than expected (I thought we’d see over 100 exits), but it’s more feminine, controlled, and mature. Michele’s aesthetic is not for everyone. In our time, traditional fairy tales have given way to Disney animation, yet as we saw at Gucci, many still believe in that dream and come back for more (under Michele, Gucci experienced multi-billion-dollar growth). Those fans will follow him to nearly any brand—be it Valentino, Dior, or even GAP. In one interview, Michele mentioned that people often give him credit for references he didn’t use. I might be guilty of the same here: for his final bow, Michele wore a hat from the London bookstore and publishing house IDEA, located at 101 Wardour Street (the hat is still available on their website). Is it because he’s referencing his days spent browsing books and reading about Valentino? Or maybe he just picked it up on his way to the show. WWD Vogue Business Vogue Gucci Valentino

Gucci: Resort 25: We can't underestimate the importance of Pre-collection (cruise, resort). There are two points: 1. Longer life on the selling floor (and with the current situation with RTW- you need it). 2. Marketing tool: Pre-collections now are shown all over the world with a focus on strategic markets (this year, CHANEL is doing a Resort 25 twice, first a few weeks ago in Marseille, and again in November in Hong Kong). Therefore, all eyes were on Gucci Cruise. When the world isn’t particularly sweet, sometimes we all need what Gucci showed yesterday in London: soft colors, ballet flats, and daisies. And alas, the fashion community seemed to warm up to Sabato De Sarno. We saw the shift from xx to Tom Ford and a bit of AM (trying to add bohemian chic, mix it with a vintage spirit and a moderate amount of weirdness). The recipe seems to be correct, the ingredients are the same. Are these things beautiful? For the most part - yes. However, the global problem of the new Gucci is that Sabato works not with IDEAS but with TRENDS. Because of this, his collections do not look like integral statements but as the work of a stylist. Look number 1: A combination of airy blouses with a bow and jeans belongs to both Valentino and AM. Look number 2: Look number one but the bottom is changed to MIU MIU underpants, etc. Oversized "coated" leather belongs to KHAITE; only the lazy hadn't made ballet flats, jackets-shirts from MIU MIU, favorites of Maria Grazia's cropped trousers are also here, as well as Ford's jersey dresses and Valentino's chiffon. What could inspire Gucci customers to run to the stores? Maybe the updated Blondie bag, which has become XXL in size? Bottom line: I still don't understand De Sarno's vision for the brand. And what is he contributing as a designer? There is a stereotype that luxury now is a mass-market sport, but even so, it is a very expensive "sport"; what is this luxury customer looking for in Gucci's store? Sabato produces an assortment of the main hits of recent seasons (not the first time, he is doing it starting with his first collection for the brand). Yes, these are cute things that would probably look great in real life. But they do not evoke any associations. What comes to your mind when you think about the new Gucci except this new Rosso color? But color is just...a color:)) #wwd #bof #fashion #resort #precollection #voguebusiness

It seems the world of luxury fashion is a shuffling of musical chairs from an outsider’s perspective. With every new creative director comes a vision of what the house really wants. Which is more , what does the equity house that owns the brand want? More profit, more market share , are 2 major and general goals. But what does it mean for the actual house itself? Alexandro transformed Gucci to become one of the most favourable brands in the last 10 years, appealing to Gen Z and become a semi-cult brand most desired by youth and ‘new money’ . Profits increased and Gucci succeeded in gaining a large market share. Only to change it vision again and bring in Sebato as the new CD and go back to classic Gucci. Is this Mayhoola’s strategy now too? Copy Kering’s recipe - Create a cult brand, bring Gen Z onboard , dominate the Asian market and then when they have reached their financial and brand objective, change over again. It’s almost like Creative Director’s and designers have very little room to play anymore and more about achieving one objective. Perhaps one wonders where being owned by a large conglomerate is worth a company’s overall longevity? Is profit more important than cultural heritage? Both are required but at what cost.

BALENCIAGA are you kidding me??? The fashion world's parade of absurdities has never fails to entertain. Remember Gucci's $200 torn stockings or those inverted sunglasses? Bottega Veneta's ingenious idea to convince us that a phone cord could be a statement neckpiece, and Moschino's $1,170 bags shaped as croissants, because, you know, who doesn't need a pastry-inspired accessory at that price? Scrolling Instagram yesterday however and running across its latest launch has got to be the epitome of my fashion induced incredulity. A bracelet inspired by the humble Scotch tape found in every hardware or office supply store. Part of their Fall/Winter 2024 collection, this accessory embraces the utilitarian aesthetic, AT THE EXORBITANT PRICE OF $3,300. At first thought you think, how stupid is this? Okay, maybe on the second, third and fourth thought as well. But then you think? Why? Who and what could spark this absolutely absurd idea? Is it a marketing gimmick then? designed to generate buzz in an increasingly competitive luxury market where attention is currency? After all, Balenciaga isn't a stranger to controversy. In 2022, the brand unveiled the “world’s most expensive trash bag” for its Autumn/Winter 2022 collection that year. Not far off from that launch, was their uproar causing towel skirts selling for close to USD 1000, leaving in their wake, a myriad of "what the hells, whys, and are they nuts". Publicity, good or bad, is publicity, you start to wonder: is there a method to this madness.... With the current generation, everything lies, in the method. It's never about what it is anymore, rather more about what is signifies, what it screams, and what it supports. One may view the Balenciaga bracelet as a cheapening of luxury, reducing it to mere gimmickry and shock value. Gvasalia risks diluting the essence of true luxury, which is rooted in craftsmanship, heritage, and exclusivity. However there are those who contend that Gvasalia is reshaping the concept of luxury jewelry by infusing it with unconventional elements and blurring the boundaries between high-end and mainstream culture. In this process, he prompts us to reassess our perceptions of what defines luxury, encouraging a reevaluation of the significance we attribute to material possessions. So we are forced to arrive at this fork, where we define luxury. Perhaps what is mockery now will be genius in a few centuries. Is this a rebellion of belief? Luxury, richness, opulence, being a part of a greater something, a feeling perhaps restricted to the rich, shifting to a more cultural definition of acceptance, feeling rich, being greater than money, acceptance, love...you question everything Is luxury not rare anymore? and here I am, just as appalled as when I started writing this article... grateful however that I can purchase this luxurious article from my nearest stationery.. Not a first copy! I'm supporting small homegrown businesses...🫡 #fashion #luxury #balenciaga

Every great film should feel new every time you watch it – Roger Ebert. This sentiment easily applies to fashion brands. However, Sabato de Sarno seems to have hit an early creative block. Many looks from Gucci's SS’25 collection repeat designs we've seen in previous seasons—such as slip dresses and leather sundresses. Some pieces even duplicate each other within this collection, with four identical looks toward the end, differing only in color. The collection fails to produce memorable items—at least, for the right reasons. As a fan of micro-minis, Sabato de Sarno includes multiple variations, but the most unflattering version here (in 10 looks!) features balloon-shaped skirts. No one, not even the models, looks good in this silhouette. The heritage of the house often lends legitimacy to collections, and the Gucci SS25 does pay tribute to it. The highlight was the updated design of the iconic Gucci Bamboo 1947 bag, reimagined by Japanese artists in honor of Gucci’s 60th anniversary in Japan. Bamboo also inspired jewelry pieces—bracelets and chokers—used in several looks, but they did little to enhance the overall coordination. The same goes for the references to Gucci Go, Gucci 73, and Gucci Horsebit. A $10 billion brand needs a strong aesthetic that keeps customers loyal and attracts new ones. Newness, grounded in a coherent vision, is essential. Unfortunately, Sabato de Sarno and Gucci seem misaligned. The result is a disjointed collection of forgettable, unattractive looks that could spell further financial difficulties for the brand. Even the smiling, dancing models couldn’t save it. Vogue Business Gucci WWD

I completely agree Tushti Kumar. It is extremely outrageous to see how brands that stand tall at the top of fashion’s hierarchy pyramid stamp on monumental price tags on the most ridiculous items only to call it ‘high fashion’. What really happened to fashion being a way to express one’s thoughts, emotions & feelings? Has an average luxury consumer become so gullible to a point where they are willing to invest in something like that? “Is Luxury not Rare Anymore?” That speaks volumes. Anything with a premium price is supposed to be associated with premium materials & premium artisanship. The luxury market looks worrisome. 😶🌫️

Reflections from Gucci Cruise 2025 show in London last night. It's no secret that the brand has been struggling - see Kering's latest profit warning. In London, at the Tate Modern, it was lots of fanfare and celebrities, and a big after party that made me realise I'm a bit too old for big fashion parties. 📣 The collection’s core theme: a celebration of contrasts. With the storied Italian luxury brand at a precarious juncture, finding its renewed identity amid a global luxury slowdown, the theme is fitting for more than one reason. 💎 Gucci’s official Weibo video had 6.98 million views and 12,400 likes at the time of writing - boosted by mainland Chinese celebrities Zhang Linghe and Wang Churan, and Hong Kong’s Daniel Wu. 💠 While Gucci leans into its heritage and the quiet luxury trend sweeping China and beyond, this collection had plenty of iconic Gucci elements, such as horsebit details, reimagined with contemporary twists. 🤔 One of De Sarno’s challenges is generating the fantasy factor that much of high fashion aspires towards, or that obsessive cult “desirability” that so defined his predecessor. 📚 Read on for more analysis and China's response on socials. Gucci’s story underscores fashion’s perpetual challenge of balancing artistic expression, hype with wearability. #gucci #luxury #china #fashion Jing Daily

This #couture season defied economic challenges, showcasing vitality and growth. LVMH's Bernard Arnault highlighted high demand for haute couture, with Christian Dior Couture struggling to meet orders due to limited workshop capacity. #Luxury brands like CHANEL and Dior turned couture into a thriving #business unit, contributing to an estimated 10% increase in couture #sales. The season featured 30 houses, including Maison Margiela's return. Critics noted a lack of #diversity and observed a subtle simplicity in designs, possibly reflecting economic considerations. The positive impact of couture on #brand image, #craftsmanship, and its role in film promotion for the upcoming Apple TV series on Christian Dior added to its value. Despite #economic uncertainties, do you think couture remains a platform for experimentation and a timeless wardrobe investment? Comment below with your thoughts.