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.”