Gucci’s new chapter kicked off in spectacular fashion on Tuesday evening in Milan, not with a traditional runway presentation, but with a dazzling red carpet movie premiere. This grand event was designed to thrust the brand back into the global cultural spotlight and, undoubtedly, into many fashion enthusiasts’ wardrobes.
The goal? To make everyone feel “young, hot, and rich,” echoing a line from the film itself. Or, perhaps more realistically, just decidedly hot and rich.
Outside Milan’s stock exchange, where a provocative Maurizio Cattelan sculpture makes a bold statement to the financial world, crowds gathered to witness the spectacle. Demi Moore stunned in a backless Gucci gown shimmering with gold sequins and intricate embroidery. Gwyneth Paltrow opted for a striking beige Gucci logo-emblazoned shirt and skirt set. Edward Norton arrived in a blue Gucci lounge suit, while Elliot Page sported a Gucci shirt, casually unbuttoned. Inside, guests were enveloped in luxury as the screening room was draped in rich, deep brown velvet, creating an atmosphere reminiscent of a chocolate fondant dream.
The main event: “The Tiger,” a 30-minute short film co-directed by Spike Jonze and Dutch filmmaker Halina Reijn. This cinematic piece delved into a fictional, dysfunctional fashion dynasty (conveniently named Gucci), a disastrous dinner party, and some unexpected psychedelic twists.
Gwyneth Paltrow showcased “La VIP,” a distinctive Gucci logo ensemble.
Anna Wintour was seen in a variation of the Flora design, while Demi Moore wore “La Mecenate,” a dress from the new Gucci collection that also features prominently in the film.
Elliot Page, a star of the film, was also spotted in Gucci attire at the collection dinner.
This 37-minute short film, a blend of absurdist comedy, social commentary, and high-fashion commercial, drew its inspiration from Demna’s groundbreaking new designs. As the sole-named designer tasked with reinvigorating Gucci, Demna introduced 37 distinct “characters”—more accurately described as archetypes or stereotypes—each given evocative names such as Primadonna, Contessa, L’Influencer, Nerd, and Bastardo.
These characters embodied a playful mix of flashy and familiar, frequently adorned with Gucci’s iconic “G” logo. They masterfully navigated the delicate balance between sophisticated elegance and bold, unapologetic kitsch, a signature aesthetic that has long defined the brand.
The collection’s styles, previously unveiled through an Instagram lookbook, were everywhere: worn by every character in the film and by every celebrity, including Anna Wintour, in the audience. It was a seamless blend of life imitating art imitating life, a powerful statement that clothing serves as our daily theatrical costume. This spectacular display served as an immediate and decisive reset for the Gucci 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 garments to flaunt their status? The invitation was clear: everyone was welcome to be in on the joke.
Portraits from the Gucci Look Book, captured by Catherine Opie, featured characters such as Incazzata, Bastardo, Milanesa, and Nerd, presented clockwise from top left.
Admittedly, the entire concept wasn’t entirely novel, neither in its presentation nor its structure. Demna has a history of incorporating red carpet events into his shows. The collection itself was a vibrant tribute to Gucci’s most iconic eras: Aldo Gucci’s Jackie Kennedy-inspired sophistication, Tom Ford’s provocative sensuality, Frida Giannini’s bold floral glamour, and Alessandro Michele’s eclectic fantasies. All these influences were infused with Demna’s distinctive touches, such as his signature stiff, Elizabethan-esque collars and elegant pussy-bow blouses.
Furthermore, the practice of soft-launching new collections during high-profile film premieres has become a popular strategy for designers introducing new visions at major brands. Recent examples include celebrities showcasing never-before-seen looks from Dior, Versace, and Bottega Veneta at the Venice Film Festival.
However, Demna elevated this concept even further. His premiere effectively erased any memory of Gucci’s recent foray into what some called “wishy-washy quiet luxury” under former designer Sabato De Sarno. While Demna’s inaugural collection evoked the glamorous, high-stakes dramas of Aaron Spelling’s “Dallas” and “Dynasty”—a “Duomo” version, if you will—his true brilliance lay in replacing the TV producer with the sophisticated directorial duo of Jonze and Reijn, imbuing the entire event with a knowing, high-concept narrative.
The outcome strikingly illustrated the departure between Demna’s current work at Gucci and his previous tenure at Balenciaga, where he also famously replaced a traditional runway show with a highly acclaimed red carpet event. This evolution transcends mere stylistic changes, such as his current preference for sleek suiting over oversized silhouettes.
A guest at the Gucci premiere showcased a Flora gown from the spring collection, featuring a distinct raised collar.
During the after-party, another attendee was seen in “La Principessa,” a sheer pink dress adorned with the Gucci logo and a pussy bow.
Guests at the premiere sported new Gucci collection pieces, including “La Cattiva,” a black alligator-print leather skirt suit, and “Androgino,” a sheer top.
Yet another guest arrived in “Primadonna,” a voluminous, feather-trimmed caftan featuring the distinctive Gucci logo.
Both then and now, the clothing was integral to the overall presentation. At the time, the experience served as a sharp meta-commentary on the burgeoning voyeuristic red carpet culture, and the film drew parallels to “The Simpsons” in its satirical approach.
Today, much of that irony has faded. Like the many “fur” coats in Demna’s new collection—a chunky mink and a short snow leopard, all cleverly crafted from shearling—there’s an underlying accessibility beneath the fabulous veneer. This suggests a sense of complicity rather than pure critique, a necessary shift if Gucci aims for global dominance. Even so, both on screen and in person, some of the heavily embellished gowns, with their dramatically puffed shoulders, appeared somewhat rigid and cumbersome.
Prior to the film, Demna, who was mingling cheerfully with guests entering the theater, shared that the movie’s core message revolved around surrendering control and embracing the unattainable nature of perfection. He acknowledged the challenge of entrusting the directorial and editing duties to Mr. Jonze and Ms. Reijn, and the creative freedom given to costume designer Arianne Phillips in selecting ensembles for each character.
“I told my therapist,” he recounted, “‘I think we accelerated therapy by about five years because I truly learned how to let go completely.’”
Yet, this philosophy doesn’t entirely translate into the clothing, which predominantly celebrates overt ambition and striving, rather than the subtle beauty of human imperfection. Nevertheless, a film, more so than a lipstick or a small leather accessory, is universally accessible. It hints that everyone can feel a part of “La Famiglia,” or at least connect with its narrative and even find humor in it, ultimately inviting them to embrace the brand.