Bike Shorts & Leggings Just Got The Gucci Treatment
They were key silhouettes at the brand’s Cruise 2024 show in Seoul.
Since its original construction in 1395, the Gyeongbokgung Palace in Seoul has housed Korean royalty (mainly members of the the Joseon dynasty in the 15th and 16th centuries) and has been an epicenter of architecture and art, not to mention a living, breathing symbol of the capital’s history. What it has likely not harbored during these 600 years is a fashion show. That all changed on May 16, when Gucci took over for its 2024 Cruise presentation, “the first of its kind” to take place at the iconic monument — and the last before the September debut of new creative director Sabato De Sarno’s first collection for the brand.
Like everything associated with the Italian house, the presentation’s South Korean locale was perfectly intentional. The line-up — created by the in-house team — drew inspiration from the region’s storied style landscape, both past and present. “The constellations illuminate a study of the global urban wardrobe invigorated by the inimitable instinct for fashion expressed on the streets of Seoul and echoed across the globe, and the customs of South Korean dress,” reads the official press release.
These words may hint at where designer Alessandro Michele’s influence has lingered at the label since his November 2022 exit. An unapologetic maximalist, the former creative director was also known for skillfully merging timeframes and aesthetics in his fanciful creations — or, as the Gucci puts it, acts of “hybridisation.” These predilections were on full display as models like Sora Choi, Karen Elson, and Tasha Tilberg took to the runway in eclectic outfits inspired by South Korea’s distinct culture described in the press release as a sort of lady who lunches-cum-surfer girl mash-up.
“Bourgeois ‘streetwear’ — the bouclé skirt suit, the silk blouse, the kitten heel — splices with sportswear informed by everyday life in Seoul, the scuba wetsuits worn by the fervent windsurfers and jet-skiers of the Han River,” reads the bulletin. “The body-conscious lines are contrasted against the voluminous dress codes of skateboarding as surfing’s terrestrial boardsport equivalent.”
This amalgamation made way for clothes with interesting elements of deconstruction and playfulness: think leather moto jackets and hoodies reimagined as full-length gowns and voluminous detachable sleeves serving as accessories. And while the silhouettes were quite classic in and of themselves, they were imbued with thrilling details. “Sculptural lines inform A-line dresses and diverse styles featuring silk bands with bows, drawing inspiration from traditional local garments,” informs the press release. “As a counterpart, the Gucci Web — the House’s signature triband — adorns pieces in super-magnified form. Hyper-sensory biomorphic motifs by the South Korean artist Ram Han animate the collection.”
A standout look came in the form of biker short suits that marched down the runways in electric grape, black, and gray houndstooth. With suiting continuing to evolve in silhouettes and hues these past few years, this fresh take could signal the trend’s next phase.
Speaking of phases, Gucci’s classic handbags have been updated (yet again) for the season in “colorful scuba and ornamental adaptations.” The 1955 Gucci Horsebit was dipped in neon yellow and red patent leather, while the millennial-loved Trapezoid Chain bag was reintroduced in bubblegum pink pillowy fabric.
See some of TZR’s highlights looks from the Gucci’s triumphant presentation in Seoul ahead.