In a move that has left the fashion industry reeling, Demna Gvasalia has been named the new creative director of Gucci, marking the end of his nearly decade-long tenure at Balenciaga. This seismic shift in Kering’s power structure signals a radical—or perhaps strategic—pivot for the Italian fashion house, as demna takes over gucci just weeks after Sabato De Sarno’s abrupt departure.
Demna’s appointment isn’t just another designer reshuffle; it’s a statement. The Georgian designer, notorious for redefining fashion’s relationship with irony, dystopian aesthetics, and viral marketing, will now take the reins at Gucci—an institution that has, for the past decade, undergone one of the most extreme pendulum swings in fashion history. From Alessandro Michele’s maximalist, gender-fluid Renaissance to De Sarno’s muted, commercial recalibration, Gucci has struggled to strike a balance between artistic integrity and financial viability.
Gucci’s Gamble on Demna’s Disruption
“Demna will bring to Gucci something exceptional,” said Gucci’s chief executive officer Stefano Cantino. “His way of defining fashion today is pretty unique, and this is what Gucci deserves and needs for the future.” The subtext? Gucci needs a hit. De Sarno’s tenure, while critically respected, failed to translate to blockbuster sales. The question now is whether Demna’s signature brand of hyperrealist satire, meme-driven marketing, and antagonistic luxury will align with Gucci’s DNA—or further fragment an already fractured identity.
At Balenciaga, Demna was known for his string of manufactured cultural moments that punctuated the late 10’s and early 20’s with a distinct post-ironic disposition. From the hacker project with Gucci itself to the infamously destroyed sneakers and the scandalous teddy bear campaign, his vision of fashion was an unfiltered commentary on capitalism’s absurdity—often by playing directly into it. Can that same approach work for Gucci, a house with a far more historically rooted narrative? Michele’s tenure at Gucci was in many ways equally disruptive, however, the fatigue of fashion runway “stunts”, and an overall cultural malaise from irony (see Balenciaga’s tumble down the cultural hierarchy post-scandal), raises questions about whether Demna’s shtick still holds weight. The industry and consumers alike have moved toward a craving for authenticity, craft, and quiet luxury—values seemingly at odds with Demna’s penchant for provocation.
Yet, the appointment speaks to Gucci’s broader existential dilemma: a house caught between its historic codes and the lure of contemporary virality. De Sarno’s short-lived tenure attempted to bridge these worlds but ultimately landed in an ambiguous middle ground—too refined to be disruptive, yet not classic enough to tap into the Hermès-fueled desire for timeless luxury.
Demna’s Gucci will undoubtedly be different. The question is, will it be different in a way that actually sells? His ability to manufacture moments is undeniable, but with Gucci already struggling with brand coherence, another reinvention risks further diluting its identity rather than sharpening it. If Kering is hoping for a cultural reset, Demna will have to prove that his aesthetic, one rooted in the aesthetics of disposable culture and irony-laden luxury, can evolve into something that resonates beyond the fashion cycle’s short-lived attention economy.
Kering’s Great Reshuffle
Demna’s arrival at Gucci is just one piece of a much larger industry shake-up, one which we wrote about extensively in December. The past six months alone have seen Hedi Slimane leave Celine, John Galliano exit Maison Margiela, Matthieu Blazy take the top spot at Chanel, and Kim Jones announce his departure from Dior Homme. Today, Donatella Versace also stepped down from her namesake brand, with Miu Miu’s Dario Vitale set to replace her. Fashion’s game of musical chairs is in full swing, and Kering, in particular, seems to be on a desperate mission to realign its brands with both cultural cachet and commercial success.
The stakes couldn’t be higher. Gucci has long been Kering’s crown jewel, but in the past year, its market share has slipped while rival LVMH continues to dominate. The appointment of Demna could be a masterstroke—or a miscalculation. Will his vision resonate with the high-spending clientele that Gucci has historically courted, or will his penchant for provocation alienate them?
What’s Next?
As Demna takes over Gucci for his debut in September, the question remains, will he revive the opulent weirdness of Michele’s Gucci? Will he double down on Balenciaga’s brand of corporate cynicism? Or will he, as he has done before, throw out the rulebook entirely?
One thing is certain: Gucci’s new era will be anything but predictable.
Cody Rooney is the Editor in Chief and senior contributor at liminul.
He is a PhD candidate, digital content specialist, writer, editor, multi-media artist, and photographer.