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The transition from concept to wardrobe is often the most revealing moment for a designer. With the release of “La Famiglia,” Demna’s first collection for Gucci completes that passage. First introduced last autumn through a controlled visual narrative, the line is now available in boutiques and online, inviting a closer encounter with its construction, proportions, and intent.

The vocabulary is recognisably Demna’s. Sculpted shoulders, elongated sleeves, and deliberately altered silhouettes carry forward a language developed over the past decade. Yet the collection is not positioned as an imposition of authorship. Instead, it operates as a study of Gucci’s internal history, approached with restraint and precision. House codes appear as points of reference rather than decorative quotation. The Bamboo 1947 bag, the Flora motif, and the GG Monogram are reworked with a contemporary clarity that avoids nostalgia. Elements associated with Tom Ford’s tenure emerge in streamlined leather and body conscious cuts, while traces of Alessandro Michele’s ornamental sensibility surface in transparent fabrics and feathered details, tempered and recalibrated.
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The collection’s initial presentation arrived through a series of archetypal portraits and a short film titled The Tiger, directed by Spike Jonze and Halina Reijn. The cast, including Demi Moore, Keke Palmer, Edward Norton, and Elliot Page, embodied stylised characters rather than celebrity personas, reinforcing the idea of fashion as narrative structure. The tone was controlled and self aware, setting a measured framework for Demna’s vision at the house.

Since that introduction, selected pieces have appeared in public on figures such as Dua Lipa, Kim Kardashian, and Dixie D’Amelio. These moments were less about spectacle than about translation, demonstrating how the collection’s language shifts when worn outside its original context. The garments retain their identity while allowing for personal interpretation, an essential quality for a debut that aims to establish longevity rather than immediacy.
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Now fully released, “La Famiglia” reads as an opening statement defined by continuity and discipline. It neither rejects Gucci’s past nor leans on it excessively. Instead, it proposes a dialogue between established codes and contemporary form, setting a clear foundation ahead of Demna’s first runway show for the house in Milan next month.
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