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Tom Cruise Is Wearing Really, Really Nice Suits Again

By Max Berlinger

Consider this the next time you're packing for a trip: It took Tom Cruise 's stylists three days to pack his looks for his recent press tour to promote the film The Mummy .

"He’s busy...it's a busy schedule," says Nicole Ferreira, who works alongside her sister Wendi as part of a styling duo that dresses Chris Pine, Channing Tatum, Shia LaBeouf, and, of course, Cruise (plus female clients like Elizabeth Banks and Octavia Spencer) for everything from the Oscars to big summer movie press tours. "It's making sure that everything is right—we write everything down, everything is bagged, there’s a book for him so that all of the work doesn’t get messed up."

For Cruise, who is currently crisscrossing the globe to promote the action film/ new franchise tentpole , life on the road is packed with red carpet events, talk-show appearances, on-camera interviews, meet-and-greets, and a whole lot of posing for photographers—and each requires a fresh outfit. Which is where the Ferreira sisters step in. Their job is to get the actor dressed for every appointment, from big premieres to trips to the airport (seriously). In other words, no sartorial stone goes unturned.

Wearing Ermenegildo Zegna Made to Measure in Taipei, Taiwan.

Wearing Ermenegildo Zegna Made to Measure at the Paris premiere of The Mummy .

The Ferreira sisters started working with Tom Cruise about two years ago after being introduced through a Paramount studios contact. (They started styling together in 2005 after respective careers in the fashion industry—and shared an appreciation for the art of shopping when they were younger. "Our mom made a big deal out of school clothes shopping; it was a big trip," Wendi says. "It was an event in our lives.") They approach working with the iconic actor as they do every client, first by researching past looks and then by collecting ideas and images of how they'd dress him or her for future events. And since Cruise has been in the spotlight for a long time, there's a record of just about every menswear choice he's made over the past 30 years. "We grew up watching him, so it was a lot of research...looking at how his style has evolved and pulling images that screamed 'Tom Cruise' to us. Then we did a concise pull of things we want to see him in."

For Cruise, this means two very distinct looks: suited up like the ultimate leading man and more casual outfits:

Suited up in Ermenegildo Zegna Made to Measure at the Australian premiere of The Mummy .

Keeping things casual at a Mummy press event in China.

"I would describe Tom’s style as elegant...with a sexy, masculine edge. It’s very classic. He’s very much all about details, and there’s minute details, but they matter. It sets him apart and makes it outstanding."

The Ferreira sisters get a look at the actor's schedule and pull together a first edit of items for the actor based not only on the type of events he'll be attending but also on bigger-picture ideas like the mood of the project itself and the places he'll be traveling. "He's very in tune with how he's supposed to look; he has a definite idea of what he wants to convey," Nicole says. And because it's Tom Cruise, the actor's name equals access to some of the finest menswear threads on planet Earth.

A closer look at the fabric of Cruise's made-to-measure suits.

To wit, for this Mummy press tour, the Ferreiras worked closely with Ermenegildo Zegna on a series of made-to-measure suits for his high-profile red carpet appearances, a fact that underscores one of the more important takeaways non-celebs can learn from a grade-A superstar like Cruise: Even movie stars need to get their suits tailored. If they need it, so do you. "A lot of what he wears is made-to-measure because of how important tailoring is," Nicole says, which means their process starts three months in advance—though Ermenegildo Zegna's Made to Measure program features a 28-day turnaround process, lightning quick by luxury-brand standards. There's nothing swervy about the suits the sisters and Cruise selected; it's just handmade tailoring executed in some of the finest fabrics money can buy in neutral hues that would look good on any man, A-lister or otherwise. Cruise could wear any of these suits—and already has—in 2017 or 2037, and they'd still be considered unimpeachably stylish.

However, Cruise, Wendi, and Nicole all know that when you stick to more traditional styles, a "fraction of an inch" can make a big difference—and it shows. As a younger generation tries to out-fashion each other with increasingly eccentric styles, or moves toward more casual looks, what's impressive about Cruise is that he sticks with looks that are deceptively simple and expertly executed. Wearing the season's latest print or trend is one way to stand out, but Cruise and his team know that sometimes a straightforward, well-cut suit and some confidence can shine amidst all the sartorial noise. And that's a lesson every guy could learn.

The custom label inside each of Cruise's Ermenegildo Zegna Made to Measure suits.

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Virginie Viard Unveils Chanel’s New Cruise Collection With A Virtual Show

By Suzy Menkes

Under a blood-red sunset, figures are outlined, wearing dark clothes with patches of gilding against sun-kissed skin.

“For me, it was the sentiment of the south of France or Capri, where we had planned to show. It’s about the whole Mediterranean area: everything light and practical, with no grand gowns,” says Virginie Viard , artistic director of Chanel ’s fashion collections.

“But we did not shoot the picture on the Côte d’Azur — it’s the landscape of the Mediterranean, but the clothes were photographed in Paris,” explains Bruno Pavlovsky, Chanel’s president of fashion activities at Chanel and Chanel SAS.

Like the rest of the world, in lockdown during the pandemic, Chanel is mindful of the situation facing humankind. The anger and despair of black people protesting globally against systemic racism, demanding justice for George Floyd, Breonna Taylor and countless other black people who have died at the hands of the police.

“Chanel has a real posture and a true value — and that value of the brand is not consistent with [racism], either in the US or any country in the world,” Pavlovsky says.

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“It is important that in this situation, Chanel can raise its hand and say, ‘This is not the world we want to be in’. It is important to say that [racism] is not acceptable so as a brand, we can condemn it and say very clearly that we are not and do not want to be a part of [racism].”

The executive is, therefore, taking a more sober attitude than ‘the show must go on’ — even though the house is actively working on the current interseason Cruise collection , with the intention to present it the same way online as it will with the July Haute Couture show.

Hoping to keep a delicate balance between a new collection and a new world order after lockdown, Viard took her original idea of Capri and defined the new show as a balade — meaning ‘a stroll’ — around the Mediterranean coastline.

After the designer worked on the collection for just four weeks in May, the result is as light-hearted as the reality is complex. The images show soft tailoring, colourful but mostly dark, with patches of embroidery glittering like a ray of sunlight — or a tanned leg slithering out of a skirt.

How hard was it to produce this sensual serenity?

“We wore masks all day and covered our eyes and the women in the ateliers sat very [far apart] — just one to each table,” Viard explains. “We tried to keep the mannequins as if they were at home and we really produced a minimal collection.

“We refreshed some outfits that were in the boutiques — two or three jackets that had been in a previous Croisière collection, which we changed by showing them with trousers. After all, when you go off on holiday, you take the clothes you know and love, yes?”

The designer explains that the main effect was in the way the clothes were shown in the Chanel images. She suggests “the idea of a little embroidered swimming top — I got that idea from a concert, where the singer was wearing a swimsuit covered with sparkles. And it is cute to have a little top and a matching handbag, reusing some of the treasures of [embroiderer, François] Lesage. That was one of my points of departure.”

It was not La Pausa, Mademoiselle Chanel’s south of France home near Monte Carlo that had influenced Viard — although I remember Karl Lagerfeld himself talking to me about being inspired by a curve of the staircase in that house.

“It could have been Monaco or Saint-Tropez or Cannes,” Viard explains. “I chose Capri because it is a dream of a place, but also because I had the idea of remaking an exhibition of Karl’s photographs.

“I was so stressed at the beginning of the two-month lockdown — I couldn’t read; I thought about Chanel all the time, a lot about Karl and my family; about all the forces that have surrounded me; and I did quite a lot of cooking! It’s good to change your thoughts.”

Although the designer was eager to talk about the collection and its lightness — “a long cardigan, a jacket like a sponge, a white tweed, blazers in muslin and a bit of crochet” — she had stretched her mind beyond holiday dreams of the Mediterranean before the lockdown.

“I didn’t want the Cruise show to be the opposite of the current [coronavirus] situation — [but also] not something too sad, that is not the essence of Chanel,” she explains. “For me, Chanel is a treasure, a refuge that looks after you and does you good, like life itself.”

In a rare discussion with the Chanel group, which chose to promote Viard, rather than searching for a new designer, Pavlovsky defines his view of where the current artistic director stands.

“There is a strong influence of Karl on Virginie, but she has had a lot of time to be able to understand the work done by Mademoiselle Chanel. Karl talked about that many times. So her view is slightly different from what we have seen in the past because she is bringing her contribution, which is probably something more feminine, something perhaps more in the air du temps [the spirit of today]. We have many comments from customers who see Virginie’s contribution to the design as under Karl’s influence. For me, it’s very consistent. And she has already contributed to [bringing] her own vision of what Chanel is for the future.”

Hoping to return to actual, physical Chanel fashion shows in October, Pavlovsky has recently been concentrating on helping with the company’s varied international collections.

“We have been doing a lot of things everywhere, in China and all over the world,” the executive says. “We feel quite involved. To support our community in such a situation, we have done lots in Italy, and the US has also been engaged.

“Beginning in [early] March, it was very important for the brand to start this amazing initiative — contributing masks, gowns. It was pure engagement or donation from people who are volunteers. And this was quite important because we have seen people from everywhere, starting with Haute Couture, making masks at home. They have all been distributed; our Métiers d’Art, ready-to-wear workshops and suppliers have made more than 700,000 face masks.

“We need to reimagine our way of communicating, but we’ll continue to have shows. Shows are key when we are talking about fashion. It’s difficult to explain a collection without shows. I think it’s the first time in the past 30 years that we don’t have a show to express the collection. However, with all the photoshoots that we have been doing and that we are doing now, I hope that we will convey enough emotion for people to understand what we are doing with this collection.”

Pavlovsky sums up the attitude of the Chanel company in what I understand to be new branches on a tree with deep roots.

“You are a brand like Chanel and you want to emerge and keep the difference and bring something that brings value to the customers. You need to bring more than just a designer,” says Pavlovsky. “It’s a spirit, it’s a posture, it’s a way of looking at what’s happening around. I believed that with Karl, and now with Virginie, Chanel is doing that more than ever.

“I think that what is most important is to be able to link what we are doing tomorrow with what has been done in the past. We can have another perspective, but at the end of the day, there is the brand and with it the past, its code.”

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The Great Gucci Gamble Comes to London

Turnarounds are hard, especially when the stakes are high. Can Sabato De Sarno deliver the goods with his debut cruise collection at the Tate Modern?

By Elizabeth Paton

As the sun set over the River Thames on Monday night, London’s favorite supermodel Kate Moss struck a pose for the mob of paparazzi gathered outside the soaring industrial heft of the Tate Modern. A stream of stars soon followed, including Dua Lipa, Paul Mescal, Debbie Harry, Solange Knowles and Demi Moore, her tiny Chihuahua Pilaf tucked under her arm like a handbag. They had gathered for Gucci and its creative director, Sabato De Sarno. The budget — and the stakes — could not have been bigger as he presented his debut cruise collection.

Gucci is one of the most recognizable fashion brands in the world, generating almost 10 billion euros (about $10.8 billion) in revenue last year. But Gucci has been scrambling to recover after a sobering drop in its fortunes in recent years. The impact for Kering, its parent company, is considerable given that Gucci is responsible for half of the organization’s sales and two-thirds of its profit. Last month, Kering reported that Gucci had a sales slump of almost 20 percent in the last quarter, leading to a rare profit warning and sliding share price.

This is not the fault of Mr. De Sarno, who was appointed 15 months ago and whose designs have only recently started arriving in stores following his Milan Fashion Week debut in September. However, the critical reception of his men’s and women’s wear collections — with a pared-back focus on crisp, contemporary silhouettes and accessories — has been muted, the concern being that he is too safe and straightforward. Certainly, they are less flamboyant than those of his predecessor, Alessandro Michele. But will the fashion industry and its increasingly jittery investors give Mr. De Sarno and his more minimal-leaning vision more time to rebuild the Gucci juggernaut?

If the ideas that emerged from the cruise collection, called “We’ll Always Have London,” are anything to go by, they should. The house of Gucci has longstanding roots in London — its founder, Guccio Gucci, worked as a baggage porter at the Savoy hotel, observing the luggage and lifestyles of the international elite. In his show notes, Mr. De Sarno wrote that he had found himself inspired anew by a city that “has welcomed me and listened to me.”

The Tate Modern’s vast underground concrete caverns known as the Tanks had been decorated with more than 10,000 verdant plants that blossomed from the ceiling, floor and pillars. Models made their way through the rooms in clothes that felt lighter and more covetable than those in his debut collections — short suede coats and capes, immaculately tailored denim, and shifts and skirts lavishly embroidered with paillette daisies. There were plenty of nods to British fashion woven through the show, especially the pearls, knee-length pencil skirts and slouchy and sensible beige anoraks that could have been worn by Queen Elizabeth II. Dresses and coats covered with squares made of a shimmering bead fringe were a reference to Scottish plaids.

There was also an unabashed Italian focus on slick accessories (the cash cows of any major fashion business), including mesh supermarket shoppers, giant Jackie styles and the Blondie shoulder bag, a revival of a Gucci favorite from the 1970s, as well as an army of leather flats shown with ankle socks, the standout versions with square toes.

Mr. De Sarno’s new signature color for the house — a rich oxblood red — was everywhere, as were his short shorts and minis, though the show ended with a series of billowing pleated gowns in an assortment of pastel shades. Perfect for a party.

Which was fitting, really, as the 600 or more guests proceeded to the vast Turbine Hall of the Tate. There, the biggest disco ball that most had ever seen dangled in the darkness to signal the start of an after-party, where the Champagne flowed and D.J.s, including Mark Ronson, played until 3 a.m.

The turnaround effort may be far from over and its success far from guaranteed. But Gucci appears committed to Mr. De Sarno as he carefully offers step-by-step iterations of what a new Gucci can be. This was his most polished and confident outing. That alone felt like something to celebrate.

Elizabeth Paton reports on the global fashion industry for The Times, a topic she has covered for more than a decade. She is based in London. More about Elizabeth Paton

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Can Gucci Woo a New Kind of It Girl?

Sabato De Sarno’s vision for the Italian fashion house seems geared toward a more open-ended version of the cool crowd

In 1899, a young Italian man named Guccio Gucci went to work as a porter at the Savoy Hotel in London. During his time there, he keenly observed the hotel’s upper-class customers and their rarefied tastes. He studied everything they wore and carried, and became so enamored with the idea of traveling well that he eventually returned home to Florence to start his own leather accessories business. The house of Gucci was founded in 1921. From there, its history—as depicted in a silly movie starring Lady Gaga and Adam Driver a few years ago—went a bit like this: The company flourished, spiraled out of control, tanked, rose again, and flattened out before finally getting back on top.

The Gucci Cruise 2025 show was held inside the gargantuan Tate Modern, which De Sarno and his team decorated with live plants and greenery. (After the show, the brand planned to donate it to garden-focused community projects throughout London.) Models descended a winding concrete staircase designed by Herzog & de Meuron and through the runway space in front of front-row guests like Dua Lipa, Solange , Kate and Lila Moss, Arca, and Little Simz.

The clothes were a mix of some of De Sarno’s favorite codes and silhouettes—short shorts, minis, mod-ish jackets, and fluid, sexy gowns—and newer propositions like swishy jeans with fringe encircling the thighs and ditzy black-and-white floral prints on gabardine. De Sarno likes to play with movement and texture, and this season felt more varied in terms of the ways he executed those techniques, using details like 3-D laser-cut organza and hand-molded sequins. There were cheeky odes to classically British style, like tartans and plaids and punkish creeper shoes, as well as fresh iterations of the 1970s-era Gucci Blondie bag and sheer pussy-bow blouses for an added touch of nostalgia.

These are clothes made for the wide range of It girls and power women that De Sarno has been casting in his campaigns and seating on the front row of his shows, starting with Daria Werbowy, followed by Kendall Jenner , Taylor Swift, Miley Cyrus, Solange, and Dua Lipa. Some are more commercial, some more likely to experiment with fashion, but they all have an edge—a certain something that makes people gawk at and gag for anything they wear. There are the niche It girls who star in Charli XCX videos , the ones whose cool is newly unattainable for the vast majority of women; and then there’s the kind of It girl with cool and mass appeal. De Sarno seems, smartly, to be interested in wooing the latter woman.

At the end of the day, this is a business about desire. De Sarno might not be blowing us out of the water with big cerebral ideas or elaborate couture, but he’s finding his footing by providing a wardrobe for the women we all want to be. It’s similar to what Hedi Slimane did at Celine and what Chemena Kamali is doing at Chloé . It’s about designing a beautifully made, well-executed collection of clothes and accessories made for the dream of being cool. It’s what Guccio Gucci did back in the day, too. He held fancy people’s luggage and set their hatboxes down on the shelves, looked closely at them as potential customers, and made things he knew they wanted (no, needed ) to get their hands on.

Gucci Cruise 2025

Brooke Bobb is the fashion news director at Harper’s Bazaar , working across print and digital platforms. Previously, she was a senior content editor at Amazon Fashion, and worked at Vogue Runway as senior fashion news writer. 

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Kate Moss Is the Ultimate Office Siren at the Gucci Show

By Alex Kessler

This Monday, the crème de la crème of the international fashion scene converged on the Tate Modern for Sabato de Sarno’s Gucci cruise 2025 show. Among the stars on the front row: Dua Lipa , Solange Knowles , and Demi Moore , who brought her three-year-old Chihuahua, Pilaf , along for the ride. Standing out on the glittering front row was the quintessential British icon herself, Kate Moss , wearing a supermodel-worthy take on the viral office siren trend.

Moss was dressed head-to-toe in Gucci, of course. She wore a grey wool mini shift dress adorned with black velvet and lace accents on the bralette. Effortlessly chic, she slung a black single-breasted coat over her shoulders and accessorized with gold jewelry, a sleek black leather clutch, sheer stockings and glossy black patent leather stilettos. Her hair, slicked back from her face and flowing down her back, was classic bombshell–with just a hint of Working Girl volume.

Moss, who starred in a teaser for the cruise collection, has long been a Gucci stalwart. Flashback to 1996: she was walking Gucci’s spring runway during former creative director Tom Ford’s legendary tenure. Today, Kate Moss champions Gucci from the front row, and they’re still a killer combo.

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Gucci brings glitz and glamor to London’s Tate Modern museum with star-studded fashion show

A model wears an outfit for the Gucci Cruise fashion show in London, Monday, May 13, 2024. (Photo by Alberto Pezzali/Invision/AP)

Models showcase outfits for the Gucci Cruise fashion show in London, Monday, May 13, 2024. (Photo by Alberto Pezzali/Invision/AP)

From second left, Paul Mescal, Selma Hayek, François-Henri Pinault and Dua Lipa attend the Gucci Cruise fashion show in London, Monday, May 13, 2024. (Photo by Alberto Pezzali/Invision/AP)

Paul Mescal attends the Gucci Cruise fashion show in London, Monday, May 13, 2024. (Photo by Alberto Pezzali/Invision/AP)

The party after the Gucci Cruise fashion show in London, Monday, May 13, 2024. (Photo by Alberto Pezzali/Invision/AP)

Dua Lipa, center, attends the Gucci Cruise fashion show in London, Monday, May 13, 2024. (Photo by Alberto Pezzali/Invision/AP)

Guests attend the party after the Gucci Cruise fashion show in London, Monday, May 13, 2024. (Photo by Alberto Pezzali/Invision/AP)

Gucci’s creative director Sabato De Sarno receives applause at the end of the Gucci Cruise fashion show in London, Monday, May 13, 2024. (Photo by Alberto Pezzali/Invision/AP)

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LONDON (AP) — For one night only, the utilitarian, concrete basement of London’s Tate Modern museum was transformed into a lush green jungle — and it was the hottest fashion ticket in town.

Luxury Italian fashion house Gucci hosted its star-studded cruise collection catwalk at the Thames-side modern art museum Monday, showing a series of delicate sheer outfits, relaxed denim and daywear, all adorned with the brand’s coveted leather bags and other accessories with the double-G logo.

Singers Dua Lipa and Solange Knowles were on the front row with supermodel Kate Moss and her daughter Lila, along with actors Demi Moore, Paul Mescal and Andrew Scott. Also in attendance were Salma Hayek and her husband, Francois-Henri Pinault, who is chair and CEO of Kering, Gucci’s parent company.

It was a big-budget event and the first cruise collection by Sabato De Sarno, who was named Gucci’s creative director last year and debuted his womenswear designs in September.

Gucci normally stages its shows in Milan, but like other fashion powerhouses it chooses locations around the world to show off its cruise, or resort, collections — the shows in between the main spring and autumn displays. Last year’s destination was the Gyeongbokgung Palace in Seoul, South Korea.

On Monday, models meandered down a runway that wound its way around hundreds of ferns, overhanging plants and mossy paths, the mass of green a contrast to the grey, industrial show space. De Sarno said that contrast extends to his latest designs, which paired luxurious evening looks and floral embroidery with casual jackets and slouchy denim.

And what of the footwear? Comfort comes first, with all outfits, even the most glamorous evening gowns, paired with Mary Jane shoes, ballet flats or platform loafers worn with little white socks.

“Rigor and extravagance, strength in delicacy, Englishness with an Italian accent,” the show notes read.

De Sarno featured a few checked jackets in a nod to British style, though some other designs were a much more subtle tribute. Dresses and coats covered with squares made of a shimmering bead fringe were a reference to Scottish plaids.

Titled “We’ll always have London,” the show was partly a love letter to the British capital, which the brand says plays a key role in its founding story more than a century ago. Its founder, Guccio Gucci, traveled to London as a teenager and had a stint working as a bellhop in the Savoy, the luxury London hotel.

The brand says Guccio took inspiration from that experience when he opened his first store in Florence in 1921 to sell luggage. The rest, as they say, is history.

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Describing himself as "a free spirit," the designer discusses issues that are close to his heart ahead of the show in Rome on Tuesday.

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ROME — Alessandro Michele is speaking up.

The designer’s Gucci Cruise 2020 collection to be shown on Tuesday evening at the Capitolini Museums in Rome is a “hymn to freedom” that will allow him to express his belief in the idea of self-determination and gender equality.

Michele is empowering freedom of expression and, in particular, freedom of choice, supporting sexual and reproductive health and rights, illustrating this concept with the feminist slogan “My body, my choice” on some of the men’s and women’s pieces, as well as on a Chime for Change T-shirt, or embroidering an image of the female reproductive system on a gown — embellished with flowers. Some looks also display the date May 22, 1978, the day the Italian law for the social protection of motherhood and legal abortion took effect. In terms of style, the designer winks to the Seventies — a crucial time for the women’s liberation movement.

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The new identity for the Chime for Change gender equality campaign was launched earlier this year , but Michele and Gucci have been committed to supporting the issue for the last five years. Chime for Change has already funded more than 825,000 euros in projects for reproductive and maternal health in countries ranging from Afghanistan and Bangladesh to Mali, the Philippines, South Sudan, Syria, Tanzania, Thailand, Uganda, the U.K. and the U.S., to name a few. Gucci has been fighting domestic violence, training in Italy 160 Gucci ambassadors against domestic violence in cooperation with the National Association D.i.R.e (Women’s Network Against Violence), the first Italian association of independent women’s centers and shelters against violence.

Here, ahead of the cruise show, Michele discusses exclusively with WWD the issues that are close to his heart, how fashion allows him to convey his message, his views on social media and how beauty “originated from chaos.”

WWD: Your collection strongly underscored the concept of freedom. What is freedom for you? How do you feel free and when do you feel freedom eludes you? How do you overcome that feeling? What are the norms that annoy you the most?

Alessandro Michele : I am a free spirit, I have always been a free spirit born under the stars of freedom. My parents brought me up in that way and I have spent my entire life fighting for inclusion. Nobody should have the right to decide about freedom of choice of any human being. No law should say to any person what to do or what not to do when it comes to very personal choices. Generally speaking, I am not really into rules, I understand the need of some of them but I prefer chaos. In my view beauty has been originated from chaos, chaos is actually in its own way order.

WWD: It is obvious you want to speak up for those who have no voice and I imagine fashion for you is a fit vehicle to express an opinion — at times even inconvenient. Unfortunately, as you know, social media today at times can even muzzle freedom of expression — when actually touting it. How do you cope with this contradiction? Do you feel more limited or, on the contrary, that you have to leverage even more of the tools at your disposal to express yourself?

A.M.: I’ve been given the great opportunity of being the creative director of one of the most famous and powerful fashion brands and thanks to [president and chief executive officer] Marco [Bizzarri] my voice has never been censored at all. My clothes, my shows, my campaigns and all the projects I am producing for Gucci are my voice, “my weapon” of choice. I have been lucky, I’ve been the megaphone and I really want to use it for a purpose. Social media is nowadays a great way to spread messages but at the same time it’s populated by haters and bullies . I have been bullied in my life and I know what that feeling is like and that’s why I am really pushing Gucci’s boundaries all the time to be inclusive. When I was younger I remember being teased by alpha males for wearing flamboyant clothes. If I did not use this opportunity I’ve been given, I would not be not true to myself nor to those who are facing similar circumstances.

WWD: The Capitoline Museums, unveiled in 1734, are considered the first museum meant as a location where art could be accessible and enjoyed by everyone. Is that the reason for choosing this venue — in addition to your passion for antiquity? Or are there other motivations?

A.M.: I used to go to the Musei Capitolini every weekend with my father, it was not only a place of beauty but also a place where you could have fun. I remember those moments, they are really vivid in my mind and those memories mean a lot to me. Years later, I have realized that the Capitolini was the first museum conceived to make art available for everybody, because in my modest view, art is the least exclusive thing on earth. I live in Rome and Rome lives in me, if you start from that perspective nothing is ancient and/or old, everything is contemporary, because everything is there. If every morning you see ancient monuments and statues, how can you say that they are not alive? They are there in everyday life, like me and you. It’s an ongoing dialogue between past and nowadays — future is just an assumption to define the contemporary.

WWD: The Seventies and women’s freedom are key references in your collection. How have things changed since then? Have important steps been made or are we regressing? If so, why in your opinion? Abortion has become once again a current theme after the recent Alabama and Missouri abortion laws. The date Italy approved the abortion law will be on some of the clothes, as will the slogan, “My body my choice.”

A.M.: My new cruise collection is, as usual, an homage to many things and to different cultures and historical moments. Among other citations, there are some references to the Seventies, a moment in time when boundaries were blurred compared with nowadays. A specific moment in time when different cultures were intermixed. It was a historical moment when women — finally — rejected all the constraints that were imposed in the previous centuries and they became free. That’s why I am paying homage to the Italian law regarding abortion, the law number 194. It’s unbelievable that around the world there are still people who believe that they can control a woman’s body, a woman’s choice. I will always stand behind the freedom of being, always.

The only world that I can imagine is a world where every single person can be who they would like to be, without any sort of restriction or judgement. At the beginning of this year I commissioned MP5, a Roman artist, to redesign our Chime for Change identity. She did that by integrating the double GG in the Chime logo. I really wanted Gucci even more embedded in this campaign. My aim was and is to pass a clear and loud message about the fact that the entire Gucci community is gathered together standing for gender equality.

More on Gucci from WWD.com:

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‘Back to Black’ Star Marisa Abela Talks About The ‘Iconic’ Style of Amy Winehouse

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Watch as Gucci unveils the new Cruise 2025 collection by Sabato De Sarno.

Gucci brings glitz and glamor to London's Tate Modern museum with star-studded fashion show

Luxury Italian fashion house Gucci has brought glitz and glamor to London's Tate Moden museum with a star-studded cruise collection show

LONDON -- For one night only, the utilitarian, concrete basement of London's Tate Modern museum was transformed into a lush green jungle — and it was the hottest fashion ticket in town.

Luxury Italian fashion house Gucci hosted its star-studded cruise collection catwalk at the Thames-side modern art museum Monday, showing a series of delicate sheer outfits, relaxed denim and daywear, all adorned with the brand's coveted leather bags and other accessories with the double-G logo.

Singers Dua Lipa and Solange Knowles were on the front row with supermodel Kate Moss and her daughter Lila, along with actors Demi Moore, Paul Mescal and Andrew Scott. Also in attendance were Salma Hayek and her husband, Francois-Henri Pinault, who is chair and CEO of Kering, Gucci’s parent company.

It was a big-budget event and the first cruise collection by Sabato De Sarno, who was named Gucci's creative director last year and debuted his womenswear designs in September.

Gucci normally stages its shows in Milan, but like other fashion powerhouses it chooses locations around the world to show off its cruise, or resort, collections — the shows in between the main spring and autumn displays. Last year's destination was the Gyeongbokgung Palace in Seoul, South Korea.

On Monday, models meandered down a runway that wound its way around hundreds of ferns, overhanging plants and mossy paths, the mass of green a contrast to the grey, industrial show space. De Sarno said that contrast extends to his latest designs, which paired luxurious evening looks and floral embroidery with casual jackets and slouchy denim.

And what of the footwear? Comfort comes first, with all outfits, even the most glamorous evening gowns, paired with Mary Jane shoes, ballet flats or platform loafers worn with little white socks.

“Rigor and extravagance, strength in delicacy, Englishness with an Italian accent,” the show notes read.

De Sarno featured a few checked jackets in a nod to British style, though some other designs were a much more subtle tribute. Dresses and coats covered with squares made of a shimmering bead fringe were a reference to Scottish plaids.

Titled “We'll always have London," the show was partly a love letter to the British capital, which the brand says plays a key role in its founding story more than a century ago. Its founder, Guccio Gucci, traveled to London as a teenager and had a stint working as a bellhop in the Savoy, the luxury London hotel.

The brand says Guccio took inspiration from that experience when he opened his first store in Florence in 1921 to sell luggage. The rest, as they say, is history.

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Glen Powell Finally Conquered Hollywood. So Why Is He Leaving?

The red hot star of ‘Top Gun’ and ‘Anyone But You’ — mentored by Tom Cruise and on every studio wish list — is returning to his native Texas to party with his folks, escape the L.A. fishbowl and finally graduate college. But don’t worry, you’ll still be seeing him everywhere.

By Lacey Rose

Executive Editor, Television

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Glen Powell arrives at lunch through a back door toting a container of bone broth he isn’t eager to look at, much less consume. He’s more a “chicken-fried-steak-in-Austin kind of a guy,” he insists, but he’s signed on to star in an A24 revenge thriller and he’s supposed to drop 15 pounds in a matter of weeks. It means he won’t be ordering the midday margarita that Ron Perlman is nursing at the next table. Reluctantly, Powell requests a green juice.

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But Powell’s not one to give up on anything, so he hands over the broth. The restaurant’s going to store it for him, he tells me, since he doesn’t have a kitchen of his own in Los Angeles anymore. After more than 15 years here, he is moving back home to Texas, where he’ll finally complete his college degree and be closer to his family. He’ll keep a place in Tribeca, too, but he’s officially turned over the keys to his spot in the Hollywood Hills that he’s been living in ever since he landed his breakout role in Top Gun: Maverick . In fact, this is Powell’s last week in L.A., which is hitting him harder than he anticipated. Still, at 35, he’s ready for a change, and the real benefit of “getting to this point in Hollywood is that I can now leave Hollywood,” he says. “It’s like I’ve earned the ability to go back to my family.”

But Powell isn’t interested in simply being another actor-for-hire, nor is he waiting around to become the next Tom Cruise . “First of all, there will never be another Tom Cruise,” he says of his co-star, who has become a friend and mentor. “That is a singular career in a singular moment, but also movie stars of the ’80s, ’90s, early 2000s, those will never be re-created.”

When it’s suggested that the imperiled state of the movie star in today’s Wall Street-tethered, superhero-obsessed landscape is a shame, in part because it seems like Powell would’ve had a hell of a time, he howls in agreement. “Oh, I’ve heard the stories from the guys on Expendables 3 ,” he says, referring to the 2014 movie he made with a who’s who of ’80s action stars. “It was these giants — Antonio Banderas, Harrison Ford, Schwarzenegger — and they were all like, ‘Man, you are doing this in the wrong moment.’ Like, ‘This is not the time.’ ” Richard Linklater , who directed Powell in Hit Man , which they co-wrote, doesn’t argue. “I can’t be like, ‘My advice to you is to be born 25 years earlier,’ ” Linklater says, “but I’ve thought that about Glen. Like, God, you’re in the wrong era.”

Powell was voted most likely to be a movie star in his high school yearbook, but his introduction to Hollywood came years earlier. At 13, the then-budding actor snagged a small role in Spy Kids 3 , a local production being directed by fellow Texan Robert Rodriguez. It was, by all accounts, an out-of-body experience for a boy who’d walk around with a video camera perpetually dangling from his neck. Still, it was Powell’s second experience — being cast on Endurance 2 , a Survivor -style competition series on Discovery Kids — that arguably proved more transformative.

“Glen from Austin, TX,” which is how an earnest, still-prepubescent Powell is ID’d in the premiere, fails the first physical challenge and gets kicked off in episode one. Even the retelling has him wincing. “I mean, it’s the most embarrassing thing that can happen to a freshman in high school. Not only are you the runt of the grade, but you just failed on a strength performance thing in front of the world, and the amount of shit that I got was extraordinary,” says Powell. He didn’t let it sink him, however. Even as a kid, he remembers thinking, “I’ll show them,” and he quickly bulked up, giving him both a surge of confidence and a leg up athletically. “It made me just ferocious, like, ‘I’m going to become the strongest mother-fucker ever,’ and weirdly more dialed-in in every aspect of my life.”

“I’ll never forget it. I sat down with him and Denzel, and it was quick. Ed goes, ‘You should move out here and give this a shot.’ He’s like, ‘This shit doesn’t happen overnight, but you should take the plunge,’ ” he says of a conversation that he’s replayed over and over in his head. Washington, who has since joked that Powell owes him his career, gave his blessing. “He’s like, ‘This guy’s discovered everybody; don’t run from this, Glen.’ “

In time, the Holmby Hills couple decided to divorce, and Powell moved into somebody’s garage in a seedy area of Van Nuys. “It was all those clichéd things where, like, they’d find a body a block away and then you’d come home to your tires slashed,” he says. Still, he kept at it, auditioning relentlessly. He even got another shot at Friday Night Lights , which he’d read for a number of times early on in Austin. Powell was older and arguably wiser now, and he had the advantage of having played high school football in Texas. It was his to lose, and he blew it. “I just remember walking back to that garage after, thinking, ‘This is where you’re going to live for the rest of your life, you loser,’ ” he says of a chapter he typically glosses over. “I had to really look at myself in the mirror and say, ‘I know you love movies, and I think you’ve got good instincts, but you may not be an actor.’ “

Then, little by little, acting gigs came. First it was Expendables 3 , then Oscar nominated Hidden Figures and Linklater’s Everybody Wants Some!! ; in between, he flexed his comedy chops as an elitist frat boy in Ryan Murphy’s Scream Queens . Eventually, Powell scored his first leading-man role in the rom-com Set It Up , though he’d had to convince the producers to let him so much as screen test opposite Emilia Clarke. (They’d wanted Zac Efron.) Then Clarke dropped out to do the Han Solo film — another project Powell got close on but didn’t land — and the whole thing almost fell apart. At his urging, Zoey Deutch stepped in, and the 2018 entry became a surprise hit for Netflix. People who didn’t used to return Powell’s calls were suddenly saying things like, “Hey, man, we got to get together.”

If you’ve seen Top Gun: Maverick — and with a $1.5 billion box office, it seems safe to assume you have — you know the part went to Teller. The news came as a major blow to Powell. Certain he was landing it, he had a buddy filming him in an American flag tank and aviators as he took the call from director Joseph Kosinski. “Not getting it was so wounding to me that I was like, ‘Oh, I care too much,’ ” says Powell, who later posted the soul-crushing image for his 1.6 million followers on Instagram. The producers offered him another role, but he wasn’t interested in the character as it was written. “I wanted him to be reminiscent of Val Kilmer [who played Iceman] — a guy who was having fun saving the day,” says Powell, who believes that what differentiates him as an actor is his ability to have a good time onscreen. “But I read the script, and I didn’t like this guy. He was just a dick, and he wasn’t even a good pilot.”

In the end, the producers listened to Powell’s ideas, and he had a hand in crafting the character, Hangman, that he ultimately agreed to play. He also learned how to make and market a blockbuster under the tutelage of his hero. Then the pandemic hit, and Cruise refused to let the studio dump Top Gun on a streamer. He knew he was sitting on a hit, and he had the leverage to hold out for what amounted to two years. Meanwhile, Powell was going broke. “I’d never made any significant amount of money on a movie, including Top Gun , and I was depleting a bank account to a point where my accountant was like, ‘This pandemic cannot last much longer,’ ” he says, acknowledging that the decision to wait for a theatrical release was ultimately the right one for the movie and the business at large. “But Tom was already Tom; I was waiting for my life to change.”

In that time, he brought a Texas Monthly article, about a mild-mannered professor who goes undercover as a fake hit man, to Linklater, with whom he’d collaborated three times already. When their adaptation premiered on the festival circuit last fall, it was snapped up by Netflix for a reported $20 million. Outlets like Vulture ran stories titled, “If Glen Powell’s Not Already a Star, This Movie Will Make Him One.” Jon Hamm, another Top Gun co-star and one of Powell’s many industry cheerleaders, is, frankly, shocked it took this long. “If you look up the definition of a movie star, it’s Glen,” he says. “The smile, the hair, the tan, the muscles, and he wants it and he loves it and he’s good at it.”

He and Sweeney were both keenly aware of how difficult it is to get people to a theater. “It’s something we talked about all the time: How do you create an event and also justify that experience?” he says. “Even if it’s me taking my clothes off on the side of a fricking cliff, it’s like, you got to do some shit in here that makes noise.” The pair managed to make noise offscreen, too. At one point, every gossip site, from “Page Six” to Deuxmoi, was running items about an on-set romance between Powell and Sweeney. Complicating the rumors, or perhaps sweetening them, was the fact that Sweeney remains engaged to one of the film’s producers and Powell was just coming out of a long-term relationship with model Gigi Paris. The headlines only contributed to interest in the film, which is why both stars decided to just lean into the rumors, flirting their way through promos and press junkets. But Sweeney, who produced the movie for Sony, was more accustomed to the tsunami of attention than Powell.

The movie came out over the holidays and started slow. Then, fueled by TikTok, it grew, and just kept growing. Powell felt the impact almost immediately. He’d walk into rooms and suddenly everybody seemed to be staring or, worse, discreetly snapping pictures. “I’m on the radar for the first time in my whole life, and it’s weird,” he says. “I mean, after Top Gun , a guy would literally be wearing a Top Gun shirt and I’d be talking to him, and it was clear he had no idea.” By March, he’d found the volume knob. Sweeney hosted Saturday Night Live and addressed the “obviously not true” rumors in her monologue, noting that her fiancé had helped produce the movie and was on set every day. “And I just want to let everyone know that he’s the man of my dreams,” she continued, “and we’re still together and stronger than ever.” Then she asked that the cameras cut to him, and Powell’s face appeared onscreen instead. This time, he was in on the joke. “It’s more fun once you understand where that knob is,” he says. “And I got to turn it up, and then I got to turn it down.”

But just because he’s seen the cycle of fame up close doesn’t mean that he’s comfortable moving through it. In fact, Powell increasingly has found himself questioning the authenticity of his relationships, be it his friendships or whatever attempts he’s made to date. (For now, the only one going home with Powell is his rescue dog Brisket, who, it seems worth noting, has 16,000 Instagram followers.) Retreating to Austin in a more permanent fashion was the advice of fellow Texan Matthew McConaughey. “He’s like, ‘Hollywood is the Matrix, man. You plug in and it’s all fake world,’ ” says Powell, who does a remarkably good McConaughey. “He’s like, ‘Then I go to Austin, and I unplug. It’s all real. Those are my friends, that’s my family, my actions matter there.’ And he’s right. If you’re here, you live in the Matrix all the time, there’s no separation of those worlds. And for me, especially as my parents get older and my niece and nephew are growing up, I want a separation of those worlds.”

So, Powell’s bought a house 30 minutes from his mom and executive coach dad, and that’ll be “home,” even if he logs more nights on film sets than anywhere else. As is, some combination of his parents and two sisters visit every project that Powell’s on, no matter where in the world he is. He suggests they’re a particularly rowdy bunch — people often think he’s exaggerating, he says, “until they see my mom, like, shotgunning beers in the fraternity house when I’m not there.” But they also keep him out of his head, and they make everything more fun. “I know we’re probably in his way sometimes, but you wouldn’t know it because he makes everyone feel loved and taken care of,” says his mom, Cyndy, who’s been an extra in most of his films.

Powell had every intention of moving the party to Austin this spring, combining the Hit Man premiere and his induction into the Austin Film Society’s Hall of Fame with a UT graduation. “I kept telling my friends I was going to throw the grad party of the century,” he says. But then his career exploded, and he could only carve out time for two of the four courses he needs to graduate. So, Spanish and Early American History will have to wait till next year; in the meantime, Powell will squeeze in a proctored exam between his work commitments. He’s also invited his dean to the Hit Man premiere — it wasn’t so that he’d get an extension on his final paper, but, he teases, “I think it didn’t hurt.” I ask Powell why, at this stage, he’s even bothering. “I think it’s really important to my mom and it’s more of an emotional thing for me,” he says. “Plus, I’m so close, I can taste it.”

Before Anyone But You hit, Powell’s dance card was already plenty full; in the months since, he’s been deluged with new opportunities and seemingly everything that he has ever touched, including a Broadway musical that he’s currently writing, feels like it’s being fast-tracked. “That’s the funniest part about this moment,” he says. “I’ve worked really hard for a long time, putting things together and just trying to get them in shape enough for people to give a shit. Then you get to a place where people are just like, ‘Yeah, let’s do it,’ and suddenly you’re playing musical chairs with yourself. You’re like, ‘Wait, do I sit in all these chairs right now ?’ “

Looking ahead, Powell is as definitive about what he won’t do — pandering Oscar bait, for one, but also Marvel fare — as he is about what he will. In fact, in relatively short time, he has garnered a reputation for being picky, primarily because he’s passed on a handful of recent tentpoles, including a Bourne Identity update and the Jurassic Park reboot at Universal. “ Jurassic is one of my favorite movies. It’s one of the things I’ve wanted to do my whole life. I’m not doing that movie because I read the script and I immediately was like, my presence in this movie doesn’t help it,” he explains. “And the script’s great. The movie’s going to fucking kill. It’s not about that. It’s about choosing where you’re going to make an audience happy and where you’re going to make yourself happy.”

When Powell and I connect again a month or so later, he’s crisscrossed the country a few times. He did Fallon’s show in New York, charmed some theater owners in Vegas and started to settle into the new place in Texas. “I think this is going to be good for my head, heart and soul,” he says by phone. He’s also lost the 15 pounds for that role, which has him weighing in at 175 … with days to spare. It was a lot of bone broth, for sure, but despite his threats, Powell was never going to give up — not on the diet, not on anything. In fact, he’s thinking maybe he can shed at least five more.

See exclusive photos of Powell.

This story first appeared in the May 22 issue of The Hollywood Reporter magazine. Click here to subscribe .

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Suri Cruise's best style moments as Katie Holmes' daughter finds her inner fashionista

Tom cruise’s estranged daughter is now going by the new name suri noelle.

Suri Cruise , the daughter of Katie Holmes and Tom Cruise , has long intrigued the public with her unique blend of youthful elegance and daring fashion choices. 

Born into a high-profile life in 2006, Suri has grown up largely out of the spotlight, a decision her mother, Katie, has consciously made to protect her. In a recent 2023 interview with Glamour, Katie shared, "What has been really important for me with my daughter, because she was so visible at a young age, is I really like to protect her."

Despite her low-profile upbringing, Suri has captivated fashion watchers and the public alike, especially as she steps into adulthood. 

In 2009, Katie revealed in an interview with Vanity Fair just how early Suri began expressing her sartorial independence: "She wears what she wants. ... She has an idea of what she wants to wear every day." This self-assured approach to fashion has clearly stayed with Suri, who continues to impress with her bold and confident style choices

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Here are some of Suri’s best fashion moments:

Coastal cowgirl

Just after celebrating her 18th birthday, Suri was spotted embracing the vibrant "coastal cowgirl" trend, a testament to her evolving fashion narrative. She wore an oversized beige sweater, stylishly cinched at the waist with a brown leather belt, paired with a flowing white skirt and rustic cowboy boots, epitomizing the blend of seaside breeziness and rugged western charm.

Suri Cruise  put a sporty foot forward in the Big Apple when she stepped out in a pair of lycra shorts to take a stroll through the city. Suri teamed her shorts with a knitted sweatshirt and some unexpected footwear.

The mother-daughter duo showcased their effortless style and the special bond they share together. Suri looked chic in a patterned maxi dress adorned with red tassels at the hem. She paired this with a cozy, oatmeal-colored cardigan and an oversized denim jacket, perfect for the city's unpredictable spring weather. The birthday girl completed her look with a natural, makeup-free face, letting her youthful beauty shine through.

​​The only daughter of  Tom Cruise and  Katie Holmes turned heads while keeping dry from the rain, with a miniature bright pink frilly umbrella. She wore an all-denim ensemble consisting of an oversized jacket and jeans, and rocked smokey eyeliner to complete her edgy look.

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Daisy Edgar-Jones, Lila Moss and Debbie Harry Wear Same Gucci Shoes During Brand’s 2025 Cruise Fashion Show

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Daisy Edgar-Jones, Lila Moss and Debbie Harry showcased their similar taste on Monday in London to celebrate Gucci ‘s Cruise 2025 collection at Tate Modern.

The ladies chose the same red leather, platform Gucci Horsebit loafer to wear front row during the fashion show. The shoe has a goldtone hardware over the top of the foot, and the platform measures approximately 2.5-inches in the front and 3.5-inches in the back.

Platform pumps feature an elevated sole and can typically feature a high heel around 4 inches or higher. The platformed construction helps compensate for the height of the heel, allowing for more height than a traditional pump without any added discomfort. In fact, if comfort is a concern, some experts recommend that you maintain a heel high of no more than 3 inches by subtracting the height of the platform from the heel. For instance, if you’re wearing a 3.75-inch heel, your platform should be .75 inches.

Rina Lipa Steps Out With Sister Dua Lipa in Knee-High Boots for Gucci's Cruise 2025 Show

Gucci's cruise '25 show in london: ballet flats, horsebit loafers but not a stiletto in sight, dua lipa gets tall in platform horsebit shoes for gucci cruise 2025 front row.

The trio was joined in the front row by many other notable names including Dua Lipa, who wore a similar style but in black. Other guests included Salma Hayek, who wore a silver mirrored platform, Demi Moore, Kate Moss, Alia Bhatt, Davika Hoorne, Little Simz and Eiza González Rivera.

These Height-Boosting Jimmy Choo Max Sandals Worn by Cynthia Erivo Are 40% off Right Now

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Cruise Collections

Photographed by craig mcdean, photography craig mcdean, october 12, 2010.

This season’s cruise collections mark the return of a spirited new lightness of being in fashion, featuring a kaleidoscopic remix of old-school prints and color that’s part girlish naivete, part chic insouciance (think Françoise Hardy), and shot through with a playful new optimism.

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Katie Holmes and Suri Cruise join latest fashion trend in New York City outing

Katie Holmes and Suri Cruise are joining the latest fashion trend. The mom-daughter duo are known for their stylish casual looks, with the actress always making headlines for her outfits. Most recently, Katie showcased her favorite slip dress with a twist, adding a 90s trend to her spring ensemble.

Is Suri Cruise using a new name?

Katie holmes is ready for summer in the perfect slip dress and her favorite 90s trend, katie holmes steps out in sophisticated dress at the american ballet theatre spring gala in nyc.

The pair were recently photographed walking around New York City, wearing wide-leg jeans, joining the baggy pants trend. Suri was seen wearing an all-denim look, similar to Katie’s recent ensemble, which consisted of a blue denim vest and matching jeans.

This time Suri paired the baggy jeans with a denim jacket and brown suede mules. Meanwhile, Katie wore a beige turtleneck to fight the cold temperatures in NYC. The actress completed the outfit with a matching coat and an off-white bag. She also wore black boots and dark sunglasses.

Katie previously talked about her style during an interview with People, revealing how she picks her outfits. “If you have a closet that you’re happy with every piece, and you keep it sort of tightly edited, it keeps it easier. Especially in the city, you want to have a certain look,“ she said to the publication.

“Every day I try to create something different than I’ve worn before. That’s what’s fun about fashion,” she continued, adding that she gravitates “towards basic looks and then I repeat them.” She also confessed to the publication that she likes to wear a lot of denim. “Jeans are an ongoing discussion,” Katie said.

When it comes to her red carpet-looks, the actress also changes her style for glamorous events. Most recently, she wore a black dress with a multicolored collar at the American Ballet Theatre Spring Gala.