Gucci’s much-anticipated new chapter began on a Tuesday evening in Milan, not with a traditional runway presentation, but with a grand red carpet movie premiere. This spectacular event was designed to catapult the brand back into the cultural zeitgeist and, quite possibly, into the wardrobes of countless fashion enthusiasts.
The message was clear: this collection is for those who aspire to look “young, hot, and rich” – a direct quote from the showcased film. Or, more simply, just hot and rich.
Throngs of onlookers filled the square outside the Milan stock exchange, where a Maurizio Cattelan sculpture ironically flips a giant middle finger to the world of finance. Celebrities arrived in a dazzling display: Demi Moore, radiant in a high-neck, long-sleeved, backless Gucci gown shimmering with gold sequins and intricate embroidery; Gwyneth Paltrow, making a statement in a head-to-toe beige Gucci logo-emblazoned shirt and skirt ensemble; Edward Norton, sporting a suave blue lounge-lizard suit, also by Gucci; and Elliot Page, with his Gucci shirt stylishly unbuttoned. Inside, a screening room transformed into a luxurious haven, draped in deep brown velvet, enveloping guests in a decadent, chocolate-fondant-like ambiance.
The main event was the screening of “The Tiger,” a 30-minute short film co-directed by Spike Jonze and Dutch filmmaker Halina Reijn. This cinematic piece delved into the eccentricities of a fictional, dysfunctional fashion dynasty (incidentally named Gucci), featuring a disastrous dinner party and a comical twist involving accidental psychedelics.
**Image Caption:** Gwyneth Paltrow, embodying the ‘La VIP’ persona, showcased a distinctive Gucci logo ensemble.
**Image Caption:** Anna Wintour in a rendition of the ‘Flora’ design, alongside Demi Moore in ‘La Mecenate,’ a striking dress also seen in the film and directly inspired by the new Gucci collection.
**Image Caption:** Elliot Page, a star of the film, wore Gucci to the exclusive collection dinner, exuding effortless style.
This short film skillfully blended absurdist comedy with social commentary and a clever commercial edge. Its inspiration came directly from Demna, the singular designer tasked with revitalizing Gucci, and his vision for redefining the brand. The collection featured 37 distinct ‘characters’ – or perhaps more accurately, archetypes and stereotypes – each with playful names like Primadonna, Contessa, L’Influencer, Nerd, and Bastardo.
All of them a little flashy, a little familiar, often adorned with the iconic ‘G’ logo, and always navigating the delicate balance between elegance and an unapologetically kitschy aesthetic – a hallmark of Gucci’s identity.
These new styles, previously unveiled through an Instagram look book, were prominently featured both onscreen (every character donned new-collection Gucci) and in the star-studded audience (including Anna Wintour), creating a seamless loop of life imitating art imitating life. It was a compelling statement from the designer, illustrating how clothing serves as our daily costume for the theater of life, and immediately signified a fresh start for the brand.
Who could resist a fashion house bold enough to playfully mock the pretentiousness of the wealthy and the fashion elite, all while simultaneously providing them with exquisite attire to flaunt their status, and then inviting everyone else to share in the humor?
**Image Caption:** Portraits from the Gucci Look Book, photographed by Catherine Opie. Clockwise from top left, Incazzata, Bastardo, Milanesa, Nerd.
While the entire concept wasn’t entirely novel, Demna has previously incorporated red carpet elements into his presentations. The collection itself distinctly referenced Gucci’s most iconic aesthetics: from Aldo Gucci’s Jackie Kennedy-inspired chic and Tom Ford’s provocative irony, to Frida Giannini’s bold floral glamour and Alessandro Michele’s whimsical fantasias. All of these influences were imbued with Demna’s signature touches, such as his penchant for stiff, almost Elizabethan collars and elegant pussy-bow shirtwaists.
Furthermore, the trend of ‘soft launching’ new collections during major film premieres has become a popular strategy for designers at prominent brands, as evidenced by numerous celebrities showcasing previously unseen looks from fashion houses like Dior, Versace, and Bottega Veneta at events such as the Venice Film Festival.
However, Demna’s premiere elevated this concept entirely, effectively erasing Gucci’s recent, somewhat uninspired ‘quiet luxury’ phase under former designer Sabato De Sarno from collective memory. If Demna’s debut collection evoked the opulent TV dramas like Aaron Spelling’s “Dallas” and “Dynasty,” it was a distinctly “Duomo” (Milanese cathedral) version, demonstrating his genius in replacing the soap opera flair with a sophisticated, high-concept artistic vision from Jonze and Reijn.
The outcome powerfully highlighted the distinction between Demna’s current direction at Gucci and his previous work at Balenciaga, where he similarly replaced a traditional catwalk with a highly acclaimed red carpet presentation. The evolution extends beyond his preference for slick, tailored suiting over oversized silhouettes.
**Image Caption:** An attendee at the Gucci premiere captivated in the exquisite Flora gown from the spring collection, featuring a distinct raised collar.
**Image Caption:** At the exclusive after-party, a guest gracefully showcased ‘La Principessa,’ a stunning sheer pink logo pussy-bow dress.
**Image Caption:** Among the guests, one was seen in ‘La Cattiva,’ a sophisticated black alligator-print leather skirt suit, while another wore ‘Androgino,’ a striking sheer top, both pieces from the fresh Gucci collection.
**Image Caption:** Another premiere guest embraced the ‘Primadonna’ look, a voluminous, feather-trimmed caftan adorned with the iconic Gucci logo.
Then, much like now, the clothing was an integral part of the narrative. The entire experience functioned as a sharp meta-commentary on the burgeoning voyeuristic red carpet culture, with the film drawing comparisons to ‘The Simpsons’ in its satirical approach.
Today, however, much of that overt irony has been shed. Similar to the collection’s lavish fur coats – including chunky mink and sleek snow leopard designs, all cleverly crafted from shearling – there’s a newfound accessibility beneath the undeniable fabulousness. It suggests a sense of complicity and invitation rather than detached critique. This approach is essential if Gucci aims for global fashion dominance, even if, both in real life and on screen, some of the heavily embellished gowns with their exaggerated, ‘ego-puffed’ shoulders appeared somewhat rigid and cumbersome.
Prior to the film, Demna, seen cordially mingling with guests entering the theater, shared that the movie’s core message revolved around surrendering control and embracing the inherent imperfection of things. He acknowledged the challenge of entrusting the directing and editing to Mr. Jonze and Ms. Reijn, and the costume choices to Arianne Phillips, who had the liberty to select specific looks for each character.
He humorously recounted telling his therapist, “I think we fast-tracked about five years of therapy because I truly learned how to let go completely.”
However, this philosophy isn’t entirely reflected in the clothing itself, which predominantly celebrates audacious striving and overt ambition, rather than the subtle beauty of human flaws. Nevertheless, a film, more so than a lipstick or a small leather accessory, offers universal appeal. It hints that anyone can become part of ‘La Famiglia,’ or at least connect with its narrative and even poke fun at it. And through this engagement, they are invited to fully embrace the brand.