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Sabato De Sarno Unveils Gucci Precision Saturated in Color to Close Milan Fashion Week

A model wears a creation as part of the Gucci men's Spring Summer 2025 collection, that was presented in Milan, Italy, Monday, June 17, 2024. (AP)
A model wears a creation as part of the Gucci men's Spring Summer 2025 collection, that was presented in Milan, Italy, Monday, June 17, 2024. (AP)
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Sabato De Sarno Unveils Gucci Precision Saturated in Color to Close Milan Fashion Week

A model wears a creation as part of the Gucci men's Spring Summer 2025 collection, that was presented in Milan, Italy, Monday, June 17, 2024. (AP)
A model wears a creation as part of the Gucci men's Spring Summer 2025 collection, that was presented in Milan, Italy, Monday, June 17, 2024. (AP)

It’s been creative director musical chairs at some of Italy’s top fashion houses, and the pressure is showing, at least on social media.

Gucci’s Sabato De Sarno presented his third collection in Milan on Monday, still the most highly anticipated runway show of the week as Gucci undergoes a major style transition.

Hours earlier, Valentino, the fashion house that snapped up his predecessor Alessandro Michele, launched images on social media of Michele’s first resort collection for Rome-based Valentino, which previews its collections in Paris. Commentators couldn’t help but notice the similarities to his Gucci years.

Anyone with complicated family dynamics can understand just how fraught the timing was. Gucci is owned by the French conglomerate Kering, which has a 30-percent stake in Valentino, an important but not determinant share. Add to that, De Sarno is a Valentino alum, whose recent resort collection included a pussy bow that was one of the codes Michele brought to Gucci.

Michele's runway debut for Valentino is expected in Paris for womenswear previews in September.

Some highlights from the fourth and final day of Milan Fashion Week, mostly menswear previews for Spring-Summer 2025:

Gucci saturates precise silhouette Sabato De Sarno’s sophomore menswear collection for Gucci was all about precise silhouettes saturated in color. A long, acid-green bonded leather coat over thigh-baring shorts and a netted shirt set the tone for an outing that was both rigorous and edgy.

Models strode through the atrium of Milan’s Triennale design museum, in tribute to De Sarno’s view of museums as "nourishing" spaces. In that vein, he invited 400 fashion students to watch the show, and was meeting with them afterward. Part of the brand’s relaunch has been moving to spaces away from the sprawling Gucci Hub on Milan’s outskirts, as De Sarno lays claim to Italy’s fashion capital one venue at a time.

His Spring-Summer 2025 collection featured wearable elements easily composed to one’s desire, reflecting De Sarno’s wish "that people feel free and welcomed in my clothes."

Amid the structure of the bonded leather jackets and crisp poplin suits, there was a lot of movement, in undulating, vivid repeating prints of surfers and dolphins on boxy bowling shirts, shimmering beaded fringe jackets in shades of lemon or lime, and long-sleeve hand-knit polo shirts sparkling with embedded sequins. A subtle jacquard was a rare sign of the Gucci logo.

Fresh styling conceits included chunky sunglasses that, when not worn, could be strapped backward around the neck with a brightly colored Gucci cord. Highly constructed bags were inspired by archival luggage, and include detachable pieces. Sneakers and scuba slip-ons featured molded soles.

Media-shy De Sarno said in press notes that the collection "speaks about freedom."

"I feel free when there is no distance between my words and my thoughts, between my actions and my heart,” he wrote.

Serena and Venus Williams serve up some Gucci De Sarno has the full endorsement of Serena Williams, who sat in the front row between Kering boss Francois-Henri Pinault and her sister Venus.

“It was a beautiful collection. I think Sabato is a great designer,” Serena Williams said backstage. “Gorgeous, gorgeous, gorgeous. I have to say I thoroughly enjoyed it.”

Williams, dressed in a pretty peach suit with a sparkly knit top, was joined by sister Venus, wearing a Gucci Pantone red leather coat. Venus also showed up at JW Anderson's show Sunday night. Also on hand was Irish actor Paul Mescal, keeping cool in striped shorts and a GG monogrammed blue dress shirt.

Giorgio Armani's North Star There has been one constant at the Giorgio Armani fashion house for the last 49 years, and that’s Giorgio Armani.

His looks are a steady evolution of the relaxed tailoring that has characterized his fashion empire.

Soothing hues set the mood for the Spring-Summer 2024 collection, where the loose, often pleated, trousers were the star. Jackets were worn open, and shirts were often collarless or with casual shawl collars. Silken trousers featured big side pleats, billowing with each step. Small slit pockets provided utility. Vests added a ruffian flair, with or without shirts. Scrunchy sun hats were packable.

Models walked slowly, deliberately, on a runway surrounded by video images of tropical plants — a motif of the season. Some smiled, as the designer has urged in recent seasons.

Turning 90 next month, Armani remains firmly at the center of his fashion group, launched in 1975, and is always on hand to take a bow after his shows.

This round, he was joined by his long-time right-hand-man Leo Dell’Orco, who heads the group's men's style office, and Gianluca Dell’Orco, head of Giorgio Armani men's styling office.

Russell Crowe was front row for the show at Armani’s Milan theater. Clad in jeans, the actor said he was jet-lagged and wanted to be comfortable. He may well have spotted something from the runway that fits that bill.

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Fashion

Kamali's Sophomore Show for Chloé in Paris Dazzled with Lightness

Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)
Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)
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Kamali's Sophomore Show for Chloé in Paris Dazzled with Lightness

Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)
Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)

Chemena Kamali’s sophomore collection for Chloé was a luminous exploration of femininity, blending the house’s heritage with a fresh, sensual energy for spring. Set against a backdrop of sun-faded apricots, blushes and soft whites, the Paris collection captured Kamali’s vision of a summer that she surmised as: “when you pause, escape, explore and recharge.” It celebrated Chloé’s free-spirited DNA, infused with a lightness that felt both nostalgic and forward-looking.
According to The Associated Press, here are some highlights of Thursday's shows at Paris Fashion Week, including a French honor for Naomi Campbell:
Kamali's joyful freedom “There’s a liberating expression of total freedom,” Kamali said of her spring display.
This freedom flowed through silk charmeuse gowns, lingerie-inspired crop tops and peek-a-boo designs.
Echoes of Karl Lagerfeld’s '70s Chloé lingered in exaggerated shoulders and standout pieces, like a loose-fitting, vivid blue coat. “Chloé is not a passing moment; it’s an eternal state of mind,” Kamali noted, grounding her collection in the house’s long-standing ethos of optimism and instinct.
Layering played a central role, but Kamali kept it light and intuitive, reflecting what she called a “very personal way of dressing.” Sheer fabrics and sun-worn lace mixed effortlessly with ribbed jerseys, creating looks that felt weightless and spontaneous, a signature of Kamali’s debut collection. “What matters to me is the feeling and intuition,” she said.
A standout moment came in the form of a dramatic trapeze-shaped silk gown, its dynamic silhouette swirling with movement. It epitomized Kamali’s ability to honor Chloé’s romantic roots while infusing a modern sensibility. “The mood is light, weightless, sensual and joyful,” she explained. That joyful freedom was a defining thread from start to finish.
With her second outing, Kamali proved she is the right designer to lead Chloé. She crafted a spring collection that balanced nostalgia and sensuality while pushing the house toward a bright, optimistic future.
Mugler’s Cadwallader takes a bite at fashion

Casey Cadwallader delivered a striking show for Mugler, equal parts theatrical and innovative. The hair, sculpted into harsh fringes like a viper’s fang, set the tone for a collection defined by sharp architectural lines. Curving lapels adorned tight jackets, while tendrils of latticed silk flowed into skirts that bled vibrant yellows, creating a visual spectacle.
The collection boldly embraced femininity, featuring a bust that echoed the form of seashells and a densely packed bustier resembling a diving whale. This daring aesthetic aligns with Cadwallader’s aim to infuse the brand with a fresh energy, moving away from the extravagance that some original Mugler fans long for.
Oversized tubular arms complemented a webbed skirt-coat, while a transparent loose trench evoked the look of a sea medusa, reinforcing Cadwallader’s commitment to pushing boundaries.
Naomi Campbell honored in France amid charity controversy

Iconic British model Naomi Campbell was awarded a prestigious honor in France, being named a knight in the Order of Arts and Letters at the culture ministry for her significant contributions to French culture.
However, this recognition comes as Campbell faces scrutiny back home, having been barred from serving as a charity trustee in England and Wales for five years. This decision follows a three-year investigation into the financial activities of her charity, “Fashion for Relief,” which was found to have been “poorly governed” and lacking in “adequate financial management.”
The Charity Commission, which oversees charities in England and Wales, reported multiple instances of misconduct, revealing that only 8.5% of the charity’s expenditures went to charitable grants over a six-year period from 2016. Notably, the inquiry uncovered that charity funds were misused for Campbell’s luxury hotel stays during events in Cannes, alongside personal expenses such as spa treatments and room service.
In response to a question from the AP, Campbell said, “I’ve just found out today about the findings and I am extremely concerned. We are investigating on our side. I was not in control of my charity; I put the control in the hands of a legal employer. We are investigating to find out what and how, and everything I do and every penny I ever raised goes to charity.”
Alongside Campbell, fellow trustee Bianka Hellmich has been disqualified for nine years after receiving unauthorized payments for consultancy services, while trustee Veronica Chou has been barred for four years. The charity, founded in 2005 to unite the fashion industry in addressing global poverty, was dissolved earlier this year, having raised over $15 million for various causes worldwide.
Despite the controversy, Campbell’s honor in France highlights her lasting impact on the cultural landscape.
Rick Owens enchants with gothic splendor

At Thursday’s show at the Palais de Tokyo, Rick Owens unleashed a captivating spectacle that felt like a dramatic descent into a realm inhabited by gothic aliens. The atmosphere was thick with smoke and suspense as an army of biblical figures marched out in impressive diagonal formations, their asymmetrical knee-high leather boots featuring translucent heels, making each step a statement.
Owens’ trademark angular, alien-like geometric shoulders dominated the runway, capturing the essence of his singular vision—one that merges dark romanticism with avant-garde aesthetics. The collection was a testament to his ability to blend his gothic instincts with a sense of reverent irreverence, reminiscent of the “delicate time” he referenced in previous collections, where beauty and horror coexist.
As the show unfolded, a billowing coven emerged, clad in oversized black priest-like hoods and flowing tulle cloaks that draped elegantly over their forms. Some models donned discreet headscarves, striking a balance between reverence and defiance, perfectly embodying Owens’ commentary on societal norms. This juxtaposition echoes his commitment to inclusivity, presenting a vision of fashion that celebrates diversity while challenging conventional beauty standards.
The intricate craftsmanship used in the collection exemplified Owens’ mastery. Each piece, from the cloaks to the striking silhouettes, invited viewers to appreciate humble fabrics. This aligns with his insistence that he presents “the most excellent aesthetics” possible, recognizing the nuanced interplay between the dark and the light in our world.
While some may find Owens’ aesthetic too avant-garde or even gloomy, this show reaffirmed his position as a provocative force in fashion. The theatricality and elaborate design remind us of his role as one of the last independent designers in Paris, navigating the complexities of the fashion landscape with fierce authenticity.