It was a Gucci green scene-stealing set, a seriously sexy proposition of floor to ceiling drapes, and at its heart interlocking G’s with a mirrored ceiling. What’s not to love? Gucci is synonymous with sexy and every which way you could watch someone watching. Minus a creative director in the house currently, the studio stepped up. But they have done this before - in between Alessandro Michele leaving and Sabato de Sarno’s appointment  - and now that the latter has also left, the studio rose to the occasion to finish his final collection and with aplomb, albeit less risqué than last time.

The lush collection was refreshingly youthful, for both women and men, a retro Gucci super food for now, nonchalant, streamlined modern, shades of the 1960s but never overloaded. The show notes spoke of a continuum and addressed the ever-changing vision of all the designers who have added to the Gucci storytelling. This chapter had moments of sleek minimalism, especially in the men’s suiting, Don Draper meets Colin Firth in A Single Man, and the maximalism of the faux fur coats. The horsebit loafer slippers were perfectly showcased under the slashed-to-the-ankle pants, and the bags too nodded to this history of the horsebit that is celebrating 70 years in 2025. The music, a special score by the American film and tv composer Justin Hurwitz, who write the score for Whiplash and La La Land, was performed by a live orchestra. BTS looked on, alongside Dev Patel, Jessica Chastain, Julia Garner and more. The extensive studio took the bow. It takes a village - and it was great.

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