Favourite Outfits From 'House of Gucci' and How They Drive the Narrative

Director Ridley Scott's latest cinematic offering is the fashion spectacular 'House of Gucci'. It is the story of the murder of Maurizio Gucci in the 1990s by his wife, Patrizia Reggiani, a woman from humble beginnings who marries into the famous Gucci family. The movie takes the angle of her unbridled ambition which begins to unravel the family legacy and triggers a reckless spiral of betrayal, decadence, revenge -- and ultimately mariticide. As this is the story of the family Gucci, it's no surprise that the film is a fashion catwalk from beginning to end awash with 80s and 90s Italian style - from the outright gaudy to the classic. Costume Designer, Janty Yates, had unprecedented access to the Gucci archives, but the movie is much more than a Gucci showcase. Pieces from Valentino, YSL, Ungaro, Alaia, Cesare Attolini, Lady Gaga's (who plays the scheming Reggiani) own pieces as well as her own designs all weave their way into the movies narrative, defining key moments and speaking volumes where words do not suffice. Here I pick some of my favourite outfits from the movie.

Maurizio Gucci in a polo-neck and blazer

Unfortunate protagonist and heir to the Gucci throne Maurizio Gucci is the straight man of the movie, and the fashion antagonist to his wife's often gaudy wardrobe. When romancing working class girl Patrizia at the beginning of the movie, posh-boy Maurizio, takes his future wife on a boat ride, wearing a totally unsuitable for the occasion, but very classy, polo neck and blazer. It might be a look that in recent years has been hijacked by the Only Way Is Essex boys - who love the polo-neck's unforgiving nature and stretch, in order to show off their 3 x a day gym workouts, but it's a look that's been going strong since the 60s. Maurizio's version of the combo is a bulkier version of the sweater in cream, and he wears it with a classic navy jacket with gold buttons.

Patrizia Gucci nee Reggiani at Aldo's ranch

On marrying into the Gucci family, Patricia is invited to uncle Aldo's ranch to meet the family's prized cows which are turned into the leather goods that make the Gucci clan's fortune. In a perfect example in how to dress for the occasion, Patricia opts for a beautiful sky blue shirt dress with full skirt and laser cut, scalloped hem. The gorgeous dress is cinched in at the waist with a tan leather belt and she accessorises with cowgirl style boots and a matching bag. Her up-do and make-up are pure Sophia Loren. This is probably my favourite outfit in the movie for it's simplicity and the beautiful shape of the dress. Gorgeous.

Paolo Gucci in his bird kimono

Comedic relief is provided by the flamboyant nephew, Paolo Gucci, whose bombast and grand plans to become a world renowned fashion designer are unfortunately not matched by the Gucci talent. Duped by the scheming Patricia and his cousin Maurizio who has fallen under Patrizia's spell, Paolo plots with Maurizio in a phone conversation to reveal his father's tax fraud in order to force his father to finally take him seriously. 'I could finally soar' Paolo exudes, 'like a pigeon'. The next scene cuts to Paolo tending his pigeons on the roof in the most beautiful orange and cream silk kimono with bird pattern. We then see Paolo on the phone to his father, decrying his need for freedom and how he will no longer be held back - all the while wearing his kimono with the flying birds.

Aldo Gucci in his squash whites

When Aldo is arrested at the gym whilst playing squash, he is of course, not in one of his power suits, but an all white gym outfit. The crisp white Lacoste polo shirt with matching white sweatbands for the wrist and head and his eye goggles, have something of the Richie Tenenbaum about them. Aldo is all in white as he is the proverbial lamb to the slaughter. As he is marched out of the gym by the FBI, it is they, not he who are in the power suits he normally favours. He does however, wear the coolest retro velour Fila zip up tracksuit top in red/navy. If you're going to have a very public arrest, make sure you're dressed your best for those pap snaps.

Maurizio Gucci in predatorial black Lacoste

After Aldo's arrest, we cut to the guilty duo -  Paolo and Maurizio who have just thrown their father\Uncle in prison. Maurizio, the instigator of the betrayal, is wearing a black version of his Uncle's white Lacoste polo shirt, reminding us who is predator and prey, although Maurizio wears his black polo shirt with classic chinos indicating he is still a geek at heart. Would he have made such machinations against his Uncle without Patrizia whispering in his ear? The suggestion is no. He is still the clean cut lawyer underneath it all, but the black to Aldo's white suggests he has, albeit temporarily, been turned over to the dark side.

Paolo Gucci, the deluded clown

When Paolo staggers down the Gucci runway, aghast at his father's sentencing, his outfit is a mish-mash of fantastical colours and patterns. He wears a black and green suit with a pink shirt and beige pattern tie and tops it all off with an orange flower in his lapel. It's a masterclass in clashing colours - a ridiculous outfits that somehow works. There is no way Paolo would have plotted against his father were he not persuaded by Maurizio, who in turn was convinced by Patrizia. The suggestion is Paolo, the clown, in his ridiculous outfits, is just not bright enough to plot against his own family to get what he wants, nor is he hateful enough. It slowly becomes clear, that the Gucci family are collapsing from within, and all roads lead back to Patrizia.  

Patrizia hits the ski slopes in prophetic blood-red

When Patrizia, Maurizio and Maurizio's soon to be lover (Paola Franchi) all meet up on the ski slopes as the strained couple holiday with Maurizio's upper class friends, the ski outfits the two female adversaries are wearing are an indicator of the power play going on on the slopes.

The top-to-toe blood-red outfit Patrizia wears, is not only a power move on her part, but also an indicator of the bloodshed to come. From the animal pelt hat on her head, to the brilliant red skintight jumpsuit she wears, Patrizia looks like she is wearing raw meat (Gaga's meat dress?) - this is not a woman to be messed with, and she gives this warning to Paola literally through her words, and figuratively through her chosen clothes.When we compare Patrizia's OTT ensemble, from her gaudy jewels to the red of the ski-suit and the fur, on her head, and contrast it with the snow white outfit, simple jewels and make up free face, of Maurizio's mistress, the opposing outfits speak volumes. Not only is Paula no match to the dangerous 'woman in red - she is - in her sacrificial white - another lamb to the slaughter, or at the very least, another hapless victim Patrizia will not allow to get in her way.

Paolo's decline

After realising he is responsible for his father's jailing 'It wasn't meant to go this far!', we next see the tragic Paolo Gucci as his father is released from jail, no longer living a life of luxury, but instead in a small flat, cluttered with dirty dishes and Paolo clearly in a state of mental decline. No longer dressing in the gaudy but expensive suits he has designed for himself (in fact all of Jared Leto's suits bar one in the movie were the work of famed Neapolitan tailors Cesare Attolini) but instead we see him bedecked in gaudy shell suits. Again, the clothes in the movie are indicators of a character's mental state. Here, the choice of outfit indicate Paolo's life, wealth and mental stability have all taken a massive downturn. When father and son finally reunite and reconcile, father Aldo, hugs his son and tells him 'You are an idiot, but you are my idiot.' Poor Paolo is the family fool. And his clown clothes reflect this.   

The lover

When Maurizio's new lover, Paola, is at his swanky new apartment it is now the 90s and Patrizia, along with her gaudy 80s outfits and tacky grandiosity are clearly a thing of the past. Paola is presented to us as a 90s  It-girl - uptown to Patrizia's downtown. Her style is all clean lines, understated (but still expensive) jewellery, tasteful make up and hair. Her slinky black dresses and blond blow out contrast sharply with Patrizia's dark bouffant and heavy 80s aesthetic. Even her make up is in stark contrast to Patrizia's - there is no kohl or sexy winged liner and Dynasty red lips. Paola is all about the no-make-up make up look. 

Paola's look in the movie is reminiscent of another tragic 90s female figure -  Jacqueline Bessette-Kennedy, who worked at and was muse to Calvin Klein and whose understated elegance inspired a legion of fans who coveted her and what they presumed was her privileged lifestyle. 

The couch

A special mention goes out to the red lips love seat. The couch that Maurizio jokes 'cost more than most people's apartment in Monte Carlo' and that Paola ought to be 'a little scared' of - shows a new side to Maurizio. He is no longer inexperienced and afraid of women as he was when he first met Patrizia at the beginning of the film - he is no longer the frightened wallflower. In fact, perhaps Patrizia has left a little bit of a mark on her ex-husband. No longer afraid of, or intimidated by his wealth or name as he was at the beginning of the film, here we see a more confident Maurizio. He is unafraid to spend his money (partly gained let's not forget, through the duplicity and help of Patrizia).  

Patrizia plots mariticide

While Maurizio and his new lover are spending the 90s living like minor royalty in their swanky upmarket apartment, we see Patrizia, in full-on revenge mode, knocking around on the wrong side of town. Maurizio may be ridiculously wealthy and may have got his hands a little dirty to get where he is, but the suggestion is that he is no Patrizia. When we next see Patrizia, she is with her gypsy friend and psychic, (played by Salma Hayek). They are both kitted out in skintight jeans and high heeled boots. Patricia wears a tough biker jacket and hasn't seemed to have adapted to the new decade and it's less ostentatious aesthetic. Her hair and make up still scream 80s and her outfit errs on the trashy side. This is the outfit she wears to negotiate with the hitmen she hires to murder her ex husband. Patrizia is a tough cookie from a poor background - certainly not afraid of the hitmen. She is a woman who  has clawed and fought her way up the social ladder and isn't willing to let go of what she has achieved without a fight. Even a Gucci with newly found confidence and years of generational wealth behind him is no match for the Patrizia's of the world. 

Conclusion

My ultimate view of the movie? The fashions are great, but ultimately, it's a two-dimensional, misogynistic and hackneyed portrayal of a woman who sees herself as having lost everything she has worked for. The 'crazy ex wife kills her husband and manages to single-handedly bring down the men of the Gucci clan, but ultimately destroys herself' reminds us of that other 80s 'crazy jealous woman trope  - Glenn Close in Fatal Attraction. It's a shame we never saw more from Patrizia's character than that of an unhinged gold-digger. Maybe there isn't more to her character? But one can't help but feel a little dissatisfied at Hollywood somehow blaming a woman for every man in an entire clan's downfall, and yet still not managing to flesh her out as a fully-fledged, rounded human being. Who was Patrizia Reggiani? You won't find out from watching 'House of Gucci'.

Clothes 8/10

Movie 5/10

Part 2: Dressed to Kill: The Best Looks From 'House of Gucci'.

 Last week saw Part 1 of the best looks from Ridley Scott's much anticipated release of 'House of Gucci'. The film stars Lady Gaga and Adam Driver as Patrizia and Maurizio Gucci, the husband murdered by his wife set in the glamorous world of 80s high end fashion. The film is, as to be expected considering the subject matter, a luxury fashion feast. Gucci CEO Marco Bizzarri reportedly gave the movie’s production team “total creative freedom” when constructing the costumes. From sea blue sequin halterneck disco jumpsuits to that chunky cream fisherman's turtleneck sweater worn on the ski slopes, I've rounded up the best fashion moments from the movie. 

8) In Head-to-Toe Gucci in NYC

Besides a belt here and a scarf there, this is the first time we see Patrizia leaning in to the Gucci logo. We also rarely see her wearing trousers unless she’s at home in jeans, so this tunic-and-trouser moment is particularly special. Styled with a brown fur coat, leather gloves and the iconic Jackie bag (named after First Lady Jackie Kennedy), she looks every bit the kind of woman ready to take over Gucci, one way or another.

From the staple bag that draws on the Italian fashion houses’ red and green colour palette to the fur coat effortlessly placed on Patrizia's scheming shoulders, this is one of the most resonant fashion moments in House of Gucci thus far. Gaga’s Reggiani truly comes into her own, embracing the Gucci name and its monogrammed pieces. In this outfit, Reggiani worships at the altar of the renowned brand.

 It is in this outfit that she discovers the world of fakes. She is shocked to discover that her housekeeper is carrying a Gucci bamboo handle knock-off. As Patrizia wanders from Olympic Tower down to Canal Street to see the dupes in person, her full-on logomania further enhances the disconnect, as well as the nearly indiscernible likeness between real and faux. (Or "replicas," as Aldo dismisses the issue.)

According to Yates, the outfit's purpose was "Basically LG's philosophy — and I completely agreed with her — was that she should be wearing the original Gucci logo in order to show up the cheapness of the mugs, the ugliness of the belts," says Yates. "The whole thing was just a raw juxtaposition." 

9) In Pink & Black Polka Dots

Patrizia's pink and black polka dot Yves Saint Laurent dress, mined from luxury vintage house Tirelli Costume in Rome, (above), which she wears to meet and manipulate the eccentric Paolo Gucci in his own atelier. The Lollobrigida style 80s dress was also selected method-style for the scene, in which Gaga also ad-libs the now-famous line: "Father, son and house of Gucci."  

"She just took it off the rail and just said, 'This is what I'm going to see Paolo in,'" says Yates, who accessorised it with a double-G logo belt.

This is a silhouette we see Patrizia in often: Long sleeves, strong shoulders and a pencil skirt or fitted dress. It’s a pretty standard look for the time period, but she makes it her own with cleavage-baring necklines, belts (like this Gucci one) to cinch her waist, bold patterns and of course, lots of flashy jewellery. Out of all the looks I loved, this one could be argued as the most classically Patrizia. Ridley Scott said he did not want to go down the Dynasty route with the outfits. However, the outfit works in this scene as Patrizia is sneaking into Paolo's atelier to convince him to go ahead with his collection. It directly mirrors Paolo's own gaudiness, highlighting the lengths Patrizia is willing to go to get what she wants - even putting on an act to convince her husband's cousin. Patricia is a master manipulator - down to the finest detail.

10) In Purple With a Mink Stole

Reggiani famously once said “It is better to cry in a Rolls-Royce than be happy on a bicycle,” and this is a sentiment Gaga embodies in her vintage get-up. Dressed in a bold purple dress that boasts a hand-painted effect, Gaga embodied the glamour of the 80s as she filmed this scene with her on screen husband Maurizio and his cousin Paolo in the streets of Rome. The garment was brought to new levels of luxury, thanks to the added Gucci accessories consisting of a navy silk scarf, which Patrizia gracefully drapes over her head, and a pebbled black leather bag emblazoned with the old Gucci logo. Ever the maximalist, Reggiani needed another material—so the look was topped with a mink fur covering for an added touch of elegance.

The outfit has an extra layer of meaning however. In this scene, Maurizio’s cousin, Paolo, confronts the not-so-happy couple about their wrongdoings - namely Patricia and Maurizio's plan to oust the rest of the Gucci's from the family business. When the betrayal is at last revealed, the familial confrontation is a melodramatic display of feeble masculinity bending to feminine strength. While Maurizio looks distressed, Patrizia looks glamorous as ever. After securing her position at the top of the Gucci empire alongside her husband, Patrizia appears to us and Paolo as a (somewhat wicked) queen in regal purple, a colour long associated with nobility and royal exclusivity. Along with her sky-high stilettos and a luscious mink stole, the look further reinforces that in terms of control, he is out and she is in.  

 11) In Flaming Hot Ski Attire in St. Moritz

This was another red-hot St. Moritz moment, featuring a skin-tight ski suit and matching Christian Dior red goggles. Of course, still accessorised to the hilt with fur and some lavish gemstone earrings. In this scene, Patrizia is trying her best to intimidate Maurizio’s past schoolmate and new mistress Paola,  and her fiery red outfit and dramatic glamour are intended to be in direct contrast to Paola’s no-makeup makeup and breezy blonde looks. It is here that she mutters the immortal line while sipping espresso, 'I don't consider myself to be a particularly ethical person, but I am fair.'

The line between glam and gaudy is a fine one however. Compared to Maurizio's new lover, Patrizia is a fire engine of gaudy fashions piled on top of a jealous attitude. While Gaga does look spectacular in the red ski suit, there's a whiff of desperation to the costume. Throughout the movie, no matter how opulent her sartorial choices may be, Patrizia always wears her clothes and not the other way around. In this instance, though, her ski outfit overwhelms Maurizio's soon-to-be ex-wife – a sad reflection of spousal rejection and emotional discomfort.

12) Paolo Gucci in Pink

Paolo Gucci is portrayed as a somewhat comically tragic figure in House of Gucci and his gloriously tasteless suits reflect this. His costumes are in the film are made by the Attolini Brothers. In the above scene Patricia plots up at his atelier in an attempt to convince him to go ahead with his own collection. She matches his own gaudiness with her own, in pink Alexis Colby polka dots. 

Of all the Gucci men, it is Paolo who gets to wear all the colour. According to production crew member Marco Alzari, 'The crazy colours were all for Paolo because he was kind of the funky person in the family. And the most conservative colours were for the Gucci gentlemen: Maurizio, Aldo and Rodolfo, because they were the stone parts of the family. Janty had all classical suits made for them, and all those colours were opposite in colour to Paolo.' Paolo's suits are so extreme, his other pink suit is also worth a mention. The pink elephant corduroy suit was designed by Yates herself as the wait from Naples for the Atolini Brothers suits required some interim action on her part.

'I asked Costume del Arte to make a couple in the interim, which Jared could wear early on. I asked them for a pink elephant cord Norfolk jacket, which he ended up wearing quite prominently! So it's actually a suit of my design, I'm afraid to say!” 

“We went very over the top with Jared's wardrobe. His character Paolo was one of the worst dressed men I’d ever googled, he’d wear silver lurex shirts under his tuxedo! The looks are really appalling, the Atollini Crothers told me that he is ‘the dandy’s dandy’, as a result, Jared Leto gets some of the most fun outfits in the movie.

13) Turtleneck and Blazer (On Point Like a Laser ref. (@yourpal_austin) and That Burberry Trench

 Ah, the eponymous turtleneck and blazer, beautifully committed to a song that went viral on Tiktok this year by @yourpal_austin. The man from the Milk Tray ads, James Bond, Mark Wright (ok strike the last one) all fond purveyors of the look that is so cheesy that it's gone full circle and become hipster cool. It's in a turtleneck and blazer that Adam Driver evokes the suave sophistication of the Gucci heir when walking to meet his beloved in Lake Como, Italy. The navy jacket, decorated with gold buttons (not seen in the above photo), symbolise the inherent elegance of Maurizio Gucci as they reflect the summer light in the Italian town. Paired with a rectangular timepiece of the same bright hue, it’s clear that Driver is well-suited (literally) and booted for the part of the Gucci golden boy as he sweeps Patrizia off her feet (again literally).

Patrizia is no fashion-slouch in the scene either. She wears a Burberry trench coat - suggested by Gaga, and paired with some rather conservative Gucci heeled loafers. The look is meant to highlight her innocence and naivety at the beginning, according to Yates.Although the mac is a gorgeous piece, it's what she's hiding underneath it that's interesting. Her micro mini dress which reveals her backside as she bends over to kiss her date, suggests that what's underneath might not be so innocent after all.

The Best Looks From Ridley Scott's 'House of Gucci'.

 The real standout stars of Ridley Scott's new high fashion epic, House of Gucci, are - somewhat unsurprisingly - the clothes. The fashion world has been chomping at the (Gucci horse) bit to check out Lady Gaga and Adam Driver's wardrobe, and they do not disappoint. Highlights include Gaga's multiple turns in cleavage-baring Saint Laurent skirt suits to Driver's cable-knit apres ski jumper that broke the internet when it was released to the world in a promo shot. Even side characters have caused a stir - Jared Leto's elephant cord Norfolk two pieces in candied shades of magenta and cobalt was an instant hit with lovers of vintage and loud. The woman behind the magic is celebrated costume designer Janty Yates, of Gladiator, American Gangster, and The Martian fame. Here I narrow down my favourite looks from the movie to my top 12 - no mean feat considering Lady Gaga alone had approximately 65 costume changes - and both she and her on screen husband insisted on 'no repeats.' In no particular order:

1| Paolo Gucci's Blue Check Suit

Yates told GQ magazine “We had the Atollini Brothers make something like 12 suits and jackets for Jared Leto, who plays Paolo Gucci in the film. They were all very, in their words ‘dandy dandy’. The Atollini Brothers made all the suits for Paolo Sorrentino's 2013 film The Great Beauty, which is one of the most wonderfully tailored films I’ve ever seen. The problem was, we had to wait for the suits, because the brothers handmake everything in Naples, so I asked Costume del Arte to make a couple in the interim, which Jared could wear early on. I asked them for a pink elephant cord Norfolk jacket, which he ended up wearing quite prominently! So it's actually a suit of my design, I'm afraid to say!”

“We went very over the top with Jared's wardrobe. His character Paolo was one of the worst dressed men I’d ever googled, he’d wear silver lurex shirts under his tuxedo! The looks are really appalling, the Atollini Crothers told me that he is ‘the dandy’s dandy’, so we went for horizontal stripes, stripes, big blooming ties, and massive checks. The blue check suit when he gives his fashion show is a good example of how over-the-top we went.”

2) Black and White, Patrizia and Maurzio Hit the Slopes

“This was the first photo released from our shoot, and the response was extraordinary.  The Arran sweater has its own website and Instagram! People dressed up like this photo for Halloween! It’s quite amazing. We had 10 different sweaters, and we tried them all on Adam Driver, who plays Maurizo Gucci. This particular one fit him best. We never intended to have it on show that much, but when he was entertaining friends, Ridley liked the idea of the suit being wrapped around his waist and the jumper being visible. 

"Ridley said he also wanted both Maurizio and Paola Franchi (the woman Maurizio eventually leaves Patrizia for) to be wearing white when they run into each other on the slopes. The idea was that they would see each other and say ‘oh you’re wearing white too!’ - kind of like an ice breaker.  Then Patrizia comes bowling along in red. it just makes me laugh the way she walk in her boots, she’s just fabulous, very funny. Lady Gaga, who plays Patrizia, is also wearing a black Gucci jacket with gold buttons in this picture.”

Here, Gaga is pictured in an iconic all-black look, which isn't too far off from fashion's contemporary style. However, the ridiculous amount of jewels and fur Cossack mink hat show Patrizia wasn't on the slopes to ski. The all black further suggests Gaga's character was perhaps already thinking evil thoughts.

3)  Patrizia's Jewellery is a Character of It's Own. 

Even before she marries into the upper echelons of Italian society, she pairs almost every single outfit with over-the-top earrings and a statement necklace. Given that her family isn’t rich, we can assume that the first few times we see her all glammed up she is wearing cheap costume jewelry—but once she’s got Gucci’s family money in her pockets, it’s safe to say the gem-encrusted chokers, diamond earrings and gold chains are all real. Or, at the very least, really expensive.

One could argue her maximalist accessorising was simply the norm for women of the era, but it appears  that Patrizia wore her jewelelry as armour. “She [Patrizia] wore a huge amount of jewellery and LG was up for that. She'd always put on two necklaces when one wasn't enough, she'd wear four bangles, and the biggest earrings she could find,” In fact, I only remember seeing her without earrings in two scenes in the film: When she briefly mourns Maurizio’s death alone, she is without her earrings. When she is back in her element just a scene later, reclaiming her home and kicking out his lover, the earrings are back on.

The second and final time we see her with no earrings, Patrizia is at her court hearing, where she receives a 26-year prison sentence. In this scene, she is not in control, and her lack of accessories illustrates as much. Had she shown up to court with her biggest pearls or glitziest studs on, one might’ve thought she’d get away with her crime.

4) Patrizia's Blue Sequin Halterneck She Wears to Go Dancing at Studio 54

One of my favourite looks didn't make it to the actual final cut, but I'm going to mention it anyway. Patrizia piled on the accessories and sequins to go dancing with Al Pacino's 'Aldo' character at Studio 54. Known as an iconic Manhattan hotspot where only the best-dressed could get in, Patrizia held her own with the city slickers courtesy of a sequined turquoise halter number and a ton of Bulgari gold necklaces, chunky bracelets, dangling earrings and glitzy make up to match. It's in the trailer, but alas cut from the film. Perhaps Ridley Scott will do a director's cut and we can see it in all its glory.

5) In Red as Elizabeth Taylor at a Costume Party

Can it get more meta than Lady Gaga in costume as Patrizia Reggiani, in costume as Elizabeth Taylor? This red dress was seriously va va room, and all the better when accessorised with Patrizia’s diamond and gem-encrusted necklace and matching earrings. The black gloves really set off the look  - and were part of Patrizia's original ensemble. When she approached Maurizio, he was bowled over. The dress was inspired by a late 70s Yves Saint Laurent piece that Reggiani wore to another party. The actual dress was bubblegum pink, which Yates switched to a blood red, hinting at what was to come and yet again using colour as a storytelling device.

6) In Her Wedding Gown

Patrizia Gucci’s 1973 wedding gown was quite a bit more modest than then iteration Gaga wears in the film. Throughout the movie, both Reggiani's and Gucci’s outfits have been nearly identical to the ones donned by the couple in the ’80s and ’90s. But on their wedding day, that pattern changes. For her original wedding dress, Reggiani opted for a more conservative, less-decorated gown, comprised of a high-neck, a low hem, and a tapered waist. Whereas here, Gaga can still be seen wearing a white lace dress with a high-low hem and a sweetheart neckline. Conversely, Driver remained consistent with Mr. Gucci’s original getup, wearing a pair of pinstripe trousers and a tailcoat blazer for a dapper look.

Still, the slightly more dramatic take did some storytelling for the viewers, in that it showcased just how far Patrizia was from fitting in with the Guccis in terms of taste.

7) In White Lace at a Birthday Party

Patrizia is from a family of modest means far outside the Gucci sphere, so her ensemble at Aldo Gucci's (portrayed by Al Pacino) Lake Como birthday party is striving for their approval. The “gorgeous fitting” white lace dress and bolero are based on an iconic image of Lollobrigida and it was kismet when Yates’ buyer “happened to find more or less the exact lace” of the original La Lollo look. 

According to Yates, Lady Gaga drew inspiration from even closer to home, suggesting she wanted to dress like her mother. 'It was wonderful because, obviously, her mother didn't wear [wacky] dresses, and her mother is 100 percent Italian.”

Patrizia chooses demure white to meet the family in a clear bid to impress them but also to show her intentions are pure. She's presenting herself as a good Italian girl - the perfect wife and hinting at the wedding to come. 

A famous '50s image of La Lollo also directly inspired the white lace strapless dress and bolero set (above) that Patrizia wears to uncle Aldo's 70th birthday party at his Lake Como house — "a '60s sort of mood, but in a late '70s design," says Yates about her interpretation of Lollobrigida's ensemble. Costume cutter Dominic Young built the look and painstakingly hand-applied each piece of lace to complete the near-3D design that jumps off the screen.

Part 2 Next week

Dressed To Kill: 'House of Gucci' is Narrated Through it's Fashion

 

The Gucci's hit the slopes

Without wanting to give too much away of the plot line (although I am sure you’re well aware of the highly publicised story), House Of Gucci follows the marriage of Patrizia Reggiani and Maurizio Gucci, the heir to Guccio Gucci’s fashion house. 

In 1985, after 12 years of marriage, Gucci traded in Reggiani for a younger woman and in 1995 was assassinated by a hired hitman on the steps of his office in Italy. The film is based on the lead-up to the trial of Reggiani, who was accused and imprisoned following the murder.

Tabloids across the world were enthralled and Reggiani became known as the “Black Widow”. Reggiani served 18 years behind bars before being released in 2016 on good behaviour.

Lady Gaga and the real Patrizia Reggiani

"Father, son, and House of Gucci." The famous scene from the film's trailer shows Lady Gaga's performance as Patrizia Reggiani crossing herself irreverently, giving us a taste of things to come. Ridley Scott's highly-anticipated film release has drawn in international audiences far broader than just fashion history buffs. A heady mix of '70s glamour and '80s drama accessorizes the shocking reveal of an all-too-accurate demise within Italy's infamous Gucci family portrayed by Adam Driver, Jared Leto, Al Pacino, among others. But nearly as notable as their acting was the work of Janty Yates, House of Gucci's esteemed costume designer.

Closely collaborating with Gaga to ensure an accurate style depiction of Patrizia, Yates drew from Gucci's well-guarded archive collection and various vintage looks worn by the murderess in real life. Classic logo-mania G's meet culturally accurate Italian designs from the '60s and of course—a mass of fur.

Patrizia and Paolo Gucci coordinate in matching pinks

Yates created the exclusive world of Gucci from a mix of custom builds, vintage (including pieces loaned from Gaga's own collection, and costume house rentals.

In the film, the costuming plays an important role in showing the narrative arcs of the characters. Lady Gaga’s Patrizia, whom Scott modelked after Italian actor Gina Lollobrigida, begins the film in feminine dresses and sweater sets, presenting a sweet and demure style in the early days of her courtship with Maurizio. Gaga informed Yates she envisaged early Patricia as dressing like her own mother -  100% Italian - classic rather than raunchy. However, the Patrizia, determined to marry into Milan’s elite social circles, is far from demure. Yates says she tried to convey this ambiguity in a scene where Patrizia wears a figure-hugging dress and heels to work at her father’s truck company, much to the pleasure of her father’s employees.

Early demure Patrizia was based on Gina Lollobrigid

“We wanted to show her in a far more naive and innocent look, when she’s seducing Maurizio,” Yates says. “She looks so sweet and innocent, but she does wear that va-va-voom green dress with high heels when she’s going to work and she knows the effect it has on the drivers of her father’s business. She’s not without guile.”

For the wedding dress scene, the dress was constructed by cutter Dominic Young and his team. Yates made two wedding dresses: One was made last minute to match the simple Gucci gown the real Patrizia wore, whereas the second option conjurs up romantic fairytale imagery with a voluptuous silhouette and sweetheart neckline. “Literally, on the day we tried both on and everybody was in the trailer for this—my assistants, her assistants, hair and makeup, her manager—and basically it was a shoo-in,” she says. They said yes to the second dress as it captures the authentically happy period in Patrizia and Maurizio’s relationship. “It looked so beautiful. She looked pretty, naive, and lovely,” adds Yates.

Patrizia marries into the Gucci clan

Patrizia's style grows more lavish and flashy once she marries into the Gucci family, reflecting her new life of affluence. Patrizia in real life was renowned for her ostentatious ensembles and, in particular, her fondness of wearing a lot of outlandish fine jewellery, which Yates feels was crucial in making Gaga's appearances for the film look believable.

Yates trawled through Gucci's archival looks to dress Gaga

“Anyone who wants to dress like Patrizia would have to wear the jewels,” she said. “It was the jewels that really did seal it. You know, she’d have big earrings and lots of necklaces instead of a subtle, tasteful approach.”

Patrizia ignored the famous Coco Chanel adage about taking one thing off before leaving the house: “She [Patrizia] wore a huge amount of jewellery and LG was up for that. She'd always put on two necklaces when one wasn't enough, she'd wear four bangles, and the biggest earrings she could find,” Yates says. As with the garments, there are no repeats when it comes to accessories and the jewellery rental house in Rome had a wide selection to match the demand. “I had something like 20 trays of jewellery we would put out every day for her to select,” she recalls. “Then they would go away into storage with the outfits, which she never wore again.” On most projects, accessories are picked on the day the scene is shot, but the fitting process for Gucci took so long because “we would fine-tune it for each earring, each pair of shoes, each bag, each belt. Everything would be accessorized to the last drop, as it were,” Yates says. 

Accessorise, accessorise, accessorise

While Gaga's Patrizia is infatuated with all things Gucci, Yates discovered that the real-life Patrizia preferred to wear other big name brands of the day such as Yves Saint Laurent throughout her time as Lady Gucci. At the time Patrizia was living the jet set life as Maurizio's wife, the  Gucci brand was more well-known for their accessories and leather goods , and their clothing was more sedate; to communicate this, Yates relied on cutter Dominic Young, who custom made costumes that resembled YSL dresses and Chanel suits of the time.

Along with offering free reign into her own collection of clothing, Gaga, in keeping with the Gucci's opulent lifestyle, insisted on no costume repeats. In 54 script days Gaga's character had a total of 65 costume changes.

Maurizio Gucci's aesthetic is less over-the-top and more sophisticated suits, mirroring his rise to power in the family business. Adam Driver had almost just as many changes in playing Maurizio—Yates created 40 suits with help of a Savile Row tailor and the Italian brand Zegna, ranging from more staid grey and navy suits for his earlier days to more luxurious velvet styles for his later years, as Maurizio takes control of the Gucci brand.

Adam Driver, Jared Leto and Lady Gaga

In addition to dressing the Gucci family, Yates was in charge of demonstrating how the Gucci brand evolved over the course of the film, creating looks that ranged from the brand's sophisticated but traditional presentation at the start of the film to its ultra-sexy reinvention under Tom Ford's creative direction at the end. While the film focuses on the demise of the House of Gucci, concluding with the family's departure from the company they founded, Yates believes the family's legacy is represented in Gucci's ability to reinvent itself and persevere, enduring in popularity to this day

“You’ll never see Billie Eilish wearing anything else but Gucci,” she says. “Look at Harry Styles, everyone is drenched in Gucci from head to toe.”