What really makes this feature such a gem are the iconic garments and glimpses of such a lavish lifestyle. In an interview with the New York Times, Production Designer Janty Yates said she created five hundred different costumes. “Lady Gaga did fifty-four days of shooting with fifty-four different looks. We didn’t repeat a single item, not even an earring,” she explains.
In this film about one of the fashion industry’s most stylish families, the garments are clearly narratively significant. Designer Yates says that in Patrizia’s case, the clothes illustrate the character’s evolution, reflecting her opulent and ostentatious new life after marrying into the Gucci family.
From glimpses of Milanese cafés and aperitifs on the shores of Lake Como to New York showrooms and jazz clubs, House of Gucci plunges us into the atmosphere of cult years for the fashion industry. Harry Gregson-Williams’ soundtrack is no less impressive, combining Pino Donaggio with David Bowie, and Bruno Laurie with Black Machine.
Midway through the film, as if to foreshadow the fact that no rebirth is possible without blood, Patrizia Gucci says, “Gucci needs new blood”. Inevitably, the film concludes with the trial of the decade.