Gucci Goes Film-Forward as Demna Unveils 'La Famiglia' at Milan Fashion Week

Demna Gvasalia presented his first Gucci collection for Milan Fashion Week not on a traditional runway, but as a film. The 30‑minute feature, The Tiger, directed by Spike Jonze and Halina Reijn, screened for guests while the clothes themselves had already been revealed a day earlier in a surprise drop titled La Famiglia, a lineup of 37 looks that heavy on logos and bold silhouettes. The move highlights a trend in luxury where fashion houses blend cinema, spectacle and product storytelling to capture attention in a crowded entertainment landscape.

Among those attending were Gwyneth Paltrow, Demi Moore, Serena Williams and Lila Moss, each of whom became part of the event’s spectacle in different ways. Paltrow, billed as La VIP, wore a pussy-bow blouse, an A-line skirt and knee‑high boots, all adorned with Gucci logos. Lila Moss assumed the role of Ragazza (Italian for “girlfriend”), wearing a black crocodile print leather mini skirt paired with matching knee‑high boots. Moore, who stars in The Tiger, portrays Barbara Gucci, the fictional head of Gucci International, in the film. The screening was complemented by a first‑look presentation of the collection, setting a tone that fused cinema with fashion and amplified brand messaging through celebrity visibility.

Industry observers say the approach has sparked conversation about whether the “new Gucci” represents a modern pivot from the label’s recent past. The question of whether the house’s direction diverges meaningfully from Tom Ford’s era—when sexier silhouettes and logo‑heavy leather defined the brand—has become a point of debate among fashion critics and fans. The discussion takes place against a business backdrop: Gucci’s parent company, Kering, reported a 25% drop in Gucci sales in the second quarter, intensifying the pressure on branding and consumer engagement to drive a rebound.

Supporters of Demna’s strategy argue that the spectacle is a form of modern storytelling that recharges interest in Gucci during a time of softening demand. They point to the way the film format can curate a mood and narrative around the collection, potentially translating into desire for the product itself rather than solely relying on a runway moment. Critics, however, worry that emphasis on theatrics could overshadow the craftsmanship and design fundamentals that long defined Gucci.

The Milan showcase underscores a broader industry shift toward experiential presentations, where fashion houses experiment with media formats—films, immersive installations, and celebrity-centric premieres—to capture headlines and social chatter. For Gucci, the aim is not just to debut 37 looks but to rebrand the house’s identity in a way that resonates with both high‑end buyers and younger audiences attuned to story-driven luxury.

As attendees left the screening, questions lingered about how easily this film‑led approach can translate into sustained sales momentum. Still, the event’s coverage has ensured that Gucci remains a focal point of Milan Fashion Week discussions, reinforcing the idea that branding, media integration and celebrity alignment are as central to modern luxury as the garments themselves. The long-term impact will play out over the coming seasons, as customers and critics assess whether Demna’s version of Gucci can deliver both cultural buzz and commercial traction.