It is hard to sum up into words what it was like to enter the 14th century Gyeongbokgung Palace in Seoul, South Korea at sunset for the Gucci 24 cruise show. The city's futuristic skyline served as the backdrop to the ancient palace while, inside, we gathered under the the 800-year old palace roof. You couldn't have asked for a better evening to stage a cruise show. After a particularly hot day in Seoul, the temperature dropped to the most perfect conditions offering a sense of calm as we all arrived, despite the hoards of fans waiting eagerly for their favourite celebrities and K-Pop stars to roll in.
The calm dissipated when the lights went down and the show began. A dramatic score by Seoulite composer Jung Jae-il filled the air, a light show through the palace grounds straightened us to attention, and the second womenswear collection from the Gucci Studio team was out of the gate. Frantic drumming gave way to the first exit – a near floor-length bomber with cherry red lining and the perfect opening look for the chosen location of the show, offering a moment to reflect on the influence of Korean street style throughout the collection.
In this unique time for the House of Gucci, during the liminal space that the brand currently occupies as we wait eagerly for Sabato De Sarno to debut his first collection in September, there is a sense of freedom offered in the waiting period. 90s silhouettes code switch with modern approaches to layering and colour, nodding to hybridisation, much like what is happening at the House itself with a collaborative collection from the Gucci Studio.
Most notably was the mix of sportswear fabrications with more delicate expressions. There were tops made of wetsuit material (inspired by the windsurfers and jet-skiers of the Han River, according to the show notes), layered with gathered georgette plunge-neck gowns, and sporty technical skivvies and leggings which appeared next to structured silk ball gown skirts and opera gloves.
Some of Gucci's signature silhouettes, the skirt suit, the silk blouse, and the kitten heel were updated with crystal embellishments and dressed down with slouchy beanies and backpacks that were designed to carry skateboards. Some models even carried full Gucci emblazoned surf boards down the sprawling runway.
The favourite look? A meyer lemon yellow A-line silk dress printed with what looked like sparkling pink jell-O, which featured a structured silk band at the bust, evoking the feeling of traditional South Korean hanbok.
The finale felt like a moment to note. The fervently building score came to a head as the models marched along the perimeter of the wall, and once the last model left the runway, the music stopped, the lights stopped, and we were left in complete silence. It offered a final moment of contrast to reflect upon. From near sensory overload to sudden peace, it gave us the space feel the magnitude of the scale of a show like this.
Watch the full Gucci Cruise 24 show, below.
