Gucci’s new book is an ode to the cultural fabric of London

The iconic fashion house have linked up with A Vibe Called Tech to create the latest book in their ‘Prospettive’ series.

With Christmas just around the corner, it’s time to get on the hunt for esoteric little coffee-table books to gift your pals (or yourself). One such book to put on your radar is ANCORA LONDRA, the fourth installment to Gucci’s Prospettive series, which sees the fashion house team up with the creative studio A Vibe Called Tech. The fruits of their joint labour? A kind of photo album that showcases the crème de la crème of the capital’s creative scene — there’s an iconic public sculpture by British artist Rachel Whiteread, a photograph from Vicky Grout (featuring the likes of Skepta), one of Corbin Shaw’s subversive flags, and much, much more. 

For Sabato De Sarno, Gucci’s creative director, something like ANCORA LONDRA wasn’t so much a matter of if, but when. The Italian brand have a rich history with the Big Smoke — Guccio Gucci was working out of the The Savoy Hotel back in 1897 and earlier this year Gucci took over London with a star-studded show held at the Tate Modern. Then, if that wasn’t enough to bring Gucci’s relationship with London into the here and now, they enlisted the help of Lewis Dalton Gilbert and Charlene Prempeh (from A Vibe Called Tech) to curate what’s now ANCORA LONDRA. 

Here, Gilbert and Prempeh sit down with HUNGER to chat Nan Goldin, the power of print, and formative London boozers. 

Tell me a little bit about how Gucci became involved with A Vibe Called Tech?

Lewis Dalton Gilbert: Our first ever project was actually with Gucci. We had met some of the team while in previous roles and when we started our creative agency – A Vibe Called Tech – back in 2020, they asked us to pitch a story that launched the company.

Charlene Prempeh: This is now our sixth collaboration with Gucci. Though each of the projects have varied in terms of medium and approach, what’s been really consistent is that we’ve been looking at — storytelling through the lens of our experience.

Image Credit: Julia Bruce

Like a lot of cities, London’s identity is ever-changing. But is there something particular about London that Gucci finds so exciting and evocative?

LG: Gucci started as an idea in London and since then has always had a deep connection with the city, from Guccio Gucci working at The Savoy Hotel in 1897, to Sabato De Sarno’s countless visits to the city, and recently the Cruise 2025 show at the Tate Modern. And I think there’s something about nightlife in London that resonates with Gucci. You see that in their “We Will Always Have London” campaign, which was shot by Nan Goldin. There’s a kind of sensuality that can be felt.

CP: London is an endless hub for art and creativity and I feel it’s almost a second home for Gucci in that sense. After our first meetings with the team for this project it was clear there was a real shared experience and appreciation of the city. 

More than that, each London postcode has its own creative language. Which ones caught your eye?

LG: Despite growing up in South West and East London, we both live in North London. So, if we’re getting into that battle, I’m voting North of the river. I have a feeling Charlene will leave me for West one day though

CP: I lived just behind the Tate Modern for over 10 years — that view is imprinted on my soul.

You’re doing physical books in the digital age — what made print feel right for this story?

LG: This concept is one of the things that makes ANCORA LONDRA so special — the tactility of it. The front cover has a square that looks and feels like concrete to reflect the brutality of the architecture of London. Something of a nod to the concrete walls of the Tate tanks where the Cruise 2025 show was held. This is something you’re supposed to keep and revisit time and time again. Much like going to a city that is a home away from home. Like London is to Gucci.

CP: I think print invites people to spend time with the images and go back to them. It becomes a medium for reference and reflection, and that felt really important for this project.

Your artist choices span generations. Talk me through that. 

LG: Rebellion. Creating art in London is hard and you have to be rebellious and find new ways of standing out and creating. London is a place where dreams are formed.

CP: There’s a special spirit of tireless creativity and resilience that ties these artists together. 

Underground scenes often resist documentation. How do you earn that trust?

LG: With honesty. Once we explained the concept of the publication and the reason why we wanted to include certain people or images, it was really nice to enter a dialogue with the artists and photographers behind them.

CP: I think people have seen through our work at A Vibe Called Tech and our individual practices – Lewis as a curator and mine as a writer – that we take the telling of untold stories seriously.

British subcultures love remixing luxury. Was that part of the appeal?

LG: Definitely. I think it’s also a strong theme of Sabato De Sarno’s Gucci! Reimagined classics, and having fun in the luxury space.

Image Credit: Martin Parr

The city’s known for these chance creative collisions. Any good stories there?

LG: I wouldn’t be where I am now without going to incredible spaces like The Joiners Arms, The George and Dragon, and the Nelson’s Head (RIP). There were so many creatives under one roof. Including me and Charlene, although we hadn’t met then.

Corbin Shaw’s work challenges class in British art. Why was that tension important for this project?

CP: I think it’s impossible to speak about any part of Britain without referencing class. We didn’t want it to be an us and them contrast, but a snapshot of the similarities and the shared experiences. And especially in the current climate. We wanted to reflect on what unites us whilst celebrating the diversity that exists within London across class and ethnicity.

Are there any pockets of London subculture that you didn’t manage to capture in this book… But wish you had?

LG: I would have loved to dedicate more pages to the venues I mentioned before, but because it is such an important part of my own history, finding a singular image that captured the essence of that time felt almost impossible. We probably need to do a sequel.

CP: A little random, but food is obviously such a huge part of London culture and I would have loved to slip in some of those restaurant references… Maybe next time!

You can purchase ANCORA LONDRA here

WriterAmber Rawlings
Banner Image CreditVicky Grout