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Gucci released its first campaign under Demna, translating the designer’s debut runway collection, Primavera, into a ten-person portrait series shot by Michal Chelbin, alongside a short film from Johan Renck starring Kate Moss. The campaign extends a collection shown in Milan Fashion Week back in February.
Kate Moss anchors the campaign’s film, titled And We Shall Dance Again, lip-syncing to Chris Isaak’s “Wicked Game” as a room of strangers around her comes to life. Renck, best known for directing HBO’s Chernobyl, builds the film around her presence alone.
The photography spreads its attention across nine other faces: Gucci’s global brand ambassadors Xiao Zhan, Jin of BTS, and NINGNING of aespa, plus Tom Brady, Alex Consani, EsDeeKid, Lee Young-ae, Shawn Mendes, Rico Nasty, and Tarzzan. The cast widens the campaign’s reach into sport, rap, and film.
You can see them against vintage floral wallpapers and heavy damask curtains, like out of a Renaissance portraiture. Consani sits in a purple sequined off-the-shoulder dress on a velvet floral throw. Brady appears in an all-leather look framed by draped rust curtains. Jin wears a racing-style leather jacket embossed down the sleeve, and Xiao Zhan reclines in gold metallic trousers and patent shoes.
Demna has expressed the campaign’s purpose using emotional language rather than commercial terms. He said he wanted it “conceived as a music video” about emotional awakening, adding that Gucci should be represented as a force reminding people that beauty is worth the risk.
Primavera takes its name from Botticelli’s painting at the Uffizi, and Demna has spoken about standing in front of the work in Florence before designing the collection. The show itself took place at Palazzo delle Scintille on 27 February, staged among marble statuary replicas modeled on pieces from the same museum.
Eighty-two looks went down the runway, opening with a seamless white minidress in hosiery fabric and closing with Kate Moss alone in a backless sequined gown that exposed a bejeweled white-gold and diamond GG thong. Paris Hilton, Donatella Versace, Alessandro Michele, and Demi Moore sat front row.
The clothes themselves leaned hard into body-conscious tailoring, echoing the Tom Ford era at the house more directly than anything shown under Alessandro Michele or Sabato De Sarno. Skin-tight trousers, sheer minidresses, and men’s T-shirts styled to slip off the shoulder ran through the collection.
Underneath the styling sat a fair amount of technical ambition: invisible heat-sealed edges, engineered curved hems, and hybrid garments built to behave like two pieces at once. Tracksuits turned into what the house is calling track dresses, leggings fused directly into trousers, and jackets merged with tops into single fitted shapes. Footwear followed the same logic, with leather shoes and sneakers blended into one aerodynamic form.
For the opening look, Demna went back to the original manufacturer of an archival Gucci design, only to find that the fabric technology behind it had changed over three decades. The recreation came back with a slightly different structure, closer to something lived-in than the crisp original.
Other additions included an updated Bamboo 1947 bag with a flexible leather handle, its horsebit hardware repeated across the collection as a recurring closure device. The GG monogram ran through the pieces. New Giovanni and Cupertino loafers rounded out the accessories, and the debut of the Manhattan sneaker.
Demna framed the whole exercise around pragmatism in his show notes, describing products built to be enjoyed by a wide range of people and to stand on their own without justification. He has described Primavera as a set of distinct dress codes moving through one collection: a body-conscious woman who dresses the same for a club and daylight, a bourgeois Milanese lady, a sharp tailoring customer, a Gen Z digital native, and an old-Gucci nostalgist drawn to horsebit heritage.
A curated selection from Primavera went live in select stores and on Gucci.com as a see-now-buy-now release back in March, well ahead of the global rollout that started in July. The exclusive early drop sat on a dedicated platform built as an extension of the show’s creative direction, letting the runway unfold through sequential discovery.
This is not Demna’s first attempt at establishing a visual language for the house. A pre-fall lookbook titled Generation Gucci arrived first, built around loose, elevated tailoring: silk and cashmere joggers, seamless minimal denim separates, devore velvet, and leather biker jackets carrying the Web motif. Later in the year, he took over Times Square for a Cruise 2027 campaign moment.
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