Ex-Gucci designer Sabato De Sarno: ‘I’m not interested in hype. I’m interested in how things are made”
Ex-Gucci Designer Sabato De Sarno: ‘I’m Not Interested in Hype. I’m Interested in How Things Are Made’
At the heart of Sabato De Sarno’s reflection on the past year lies the concept of time. After a brief yet highly examined stint as Gucci’s creative director—where his minimalist approach faced challenges in a luxury market experiencing a slump—De Sarno has embraced a slower rhythm in his creative pursuits. This shift, he suggests, is a deliberate move to counter the fashion industry’s tendency to prioritize headlines over depth. ‘I was there 19 months,’ he noted, ‘but my fashion journey spans 23 years.’
Reimagining Craft in Milan Design Week
Since leaving Gucci in February 2025, De Sarno has immersed himself in new ventures, from co-hosting events during Pride Month to collaborating on a film by Neapolitan director Camilla Salvatore. His latest project, ‘Napoli Infinita,’ showcases Naples through the lenses of over 35 contemporary artists, highlighting the city’s cultural essence. Now, during Milan Design Week, he is curating ‘INSIEME,’ an exhibition that unveils the unseen labor behind artisanal creation.
“I kept thinking about how, when you visit an exhibition or fair, the focus is often on completed works. For ‘INSIEME,’ I wanted to highlight the journey before the final piece: the mistakes, decisions, timing, and those pivotal moments where a direction is chosen and cannot be undone.”
The exhibition, housed in the historic changing rooms of Piscina Cozzi—a Milanese indoor pool—aims to celebrate craftsmanship. ‘INSIEME’ translates to ‘together’ in Italian, symbolizing the collective effort behind each creation. Participating brands range from established names like Venini and Rubelli to emerging studios such as Bottega Vazzoler and Artieri 1895, alongside Bonacina, Fornace Brioni, and Glas Italia.
Artists and Collaborators
Curated with the help of design duo Tipstudio, French artist JR, and Vanity Fair Italia, the exhibition features immersive spaces that emphasize process over product. In one corridor, Henraux displays three slabs of unpolished marble, drawing attention to the raw material. Solimene contrasts a vintage Sirena ceramic piece from its Vietri sul Mare archive with a modern iteration, revealing how design evolves across generations.
“Even when I was at Gucci, that didn’t change. From the outside, everything may seem fast, but for me, it never really was.”
De Sarno’s approach diverges from the fashion industry’s reliance on rapid judgments and fleeting trends. ‘I want to build, to shift perception,’ he explained. ‘There’s a difference between something that lasts 24 hours and something that endures. My focus is on the craftsmanship behind the creation, not the fleeting buzz of hype.’
Reassessing Priorities
With more time to reflect, De Sarno has begun re-evaluating his own creative instincts. His relationship with art has deepened, moving beyond aesthetics to a more analytical engagement. ‘I’ve always been passionate about it,’ he said, ‘but I realized many of my choices were driven by style. Now, I have the space to study and understand the essence of what truly resonates.’
De Sarno’s work at ‘INSIEME’ underscores a broader philosophy: to value the labor and intent that shape a piece, rather than the immediate visual impact. This perspective, he argues, is essential in an era dominated by images and speed, where the slower, more deliberate act of making is often overlooked.
