Florence forever: Gucci’s Cruise 2026 comes home

Gucci’s Cruise 2026 collection is a showcase of its bold and innovative ‘new chapter’ presented at the historic Palazzo Settimanni in Florence, Italy.

“Gucci is Florence and Florence is Gucci,” the esteemed luxury brand wrote about its Cruise 2026 show, which was held within the storied walls of 15th-century Palazzo Settimanni in Florence, Italy. The exhibition brought Gucci back to where it all started, while its new collection is a showcase of its bold, innovative future.

The historic city of Florence has been a real Gucci hub since the house acquired Palazzo Settimanni in the Oltrarno district in 1953. The five-story, 2,800-square-meter property has served as the brand’s factory and workshop in the past. Today, the palazzo is home to Gucci’s 46,000-piece archive that flaunts its rich and vibrant 100-year history.

According to CEO Stefano Cantino, the move to host the house’s Cruise 2026 show in the palazzo highlights Gucci’s commitment to honor its heritage while creating a positive future for the brand. “Returning to Florence, and specifically to Palazzo Settimanni, is both a tribute and declaration of intent,” he said in a statement released before the show. 

“The archive is not merely a repository of our past; it is a living space where Gucci’s identity codes are preserved and reinterpreted through an ongoing dialogue,” Cantino continued. “Presenting the Cruise 2026 collection here reaffirms our bond with the cultural and artisanal heritage that defines us, while projecting it into the future with coherence and ambition,” Cantino added.

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For this season, Gucci’s creative team designed a collection shaped by the design philosophies of its previous creative directors, including Alessandro Michele’s eclecticism and Tom Ford’s sensuality. The collection’s furry coats and sparkling gowns were crafted à la Tom Ford, while its pussy-bow blouses and ruched silk dresses speak of Michele. Leggings that sparkle with crystals appear to be influenced by Sabato De Sarno, while the midi silk dresses and pencil skirts are seemingly fashioned from Frida Fiannini’s collections.

A bunch of Demna-esque elements also suggested that the house’s new creative director has begun getting his hands dirty with the house’s design team ahead of his official debut in September.

Denma was announced as Gucci’s new artistic director last March and is yet to unveil his final collection for Balenciaga during its haute couture show in June. And although Gucci insiders will not confirm whether or not the famed designer lent a hand in this collection, its Demnaficiation is unmistakable.

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It is, for one, seen in ironic and playful touches like the big, exaggerated shoulders, oversized outerwear, fuzzy coats, fluid pants, extravagant accessories, and artistic color pairings. The soft fur jackets, as well as jacquard car coats, were paired with sleek leather pencil skirts and Michele-inspired pussy-bow blouses.

Party dresses were given a contemporary update through the use of shiny silver lame, retro patterns, and psychedelic prints. They were styled with lurid velvet and crystal-covered leggings and rhinestone stockings jazzed up with Gucci’s classic interlocking Gs to express a strong personality with every look.

The collection continues to make a statement through its accessories, which came in the form of pervy-tinted aviators, candy-striped bags, and enamel snails, gold pigs, and pear-encrusted seahorse earrings. Making its debut on the runway are two accessories set to become the “it-accessory” this year: the Gucci Giglio bag, which is an oversized tote styled as a fold-over clutch, and the Monili high jewelry collection, which Gucci co-created with Italian jeweler Pomellato.

Watch the entire show below.

All photos from Gucci

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Associate Editor

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