Gucci is calling La Famiglia “the genesis of a new Gucci era”. Demna was appointed Creative Director in March 2025, officially starting in July. Known for turning streetwear into high fashion and for his sharp, often polarizing sense of cultural commentary, he comes to Gucci with both a reputation and a challenge. His first full collection won’t arrive until February, but this is already warming the stage lights before the curtain rises.

Shot by Catherine Opie, the images cast Gucci as an expansive family of archetypes. L’Archetipo anchors the house in its valigeria origins with a monogrammed travel trunk. Incazzata appears wearing a fiery ’60s red coat. La Bomba prowls in feline stripes, while La Cattiva shows up as the definition of a “femme fatale”. Miss Aperitivo, La Mecenate, La Contessa, Sciura, and Primadonna complete the cast, each persona sketching out a version of “Gucciness” that is at once specific and plural. It’s camp, it’s serious, it’s Italian sprezzatura for 2025.

Courtesy of Gucci

The clothing makes those archetypes tangible with slingbacks worn wrong on purpose, soft mules slipped on with nonchalance, opera coats drenched in feathers, hosiery turned into near-nudity. Menswear takes the opposite route by stripping to essentials. Black-tie swimwear and sheer bodycon strips simplicity down to its sexiest form. Heritage codes slip back in, such as: the Bamboo 1947 shrunken, the Horsebit loafer retooled and the GG Monogram magnified.

What’s compelling is how La Famiglia positions itself as a statement of intent. It goes “back to the future by way of the past,” establishing limits only to push them further. Instead of trying to be safe or coherent, it doubles down on excess, eccentricity, and narrative. It acknowledges that Gucci’s power has never been in balance, but in audacity. As a prologue, it doesn’t offer resolution. It offers promise, and that is exactly what the industry needs from Gucci at this moment.

Courtesy of Gucci