Gwyneth Paltrow, Lila Moss Attend Gucci Premiere as Demna Unveils New Era at Milan Fashion Week

Gucci kicked off Milan Fashion Week with a bold new chapter under creative director Demna, presenting the premiere of a short film that the house framed as a keystone of its reinvented storytelling. The Tiger, directed by Spike Jonze and Halina Reijn, frames Gucci’s return to a more theatrically charged, character-driven approach as Demna begins his first full season at the brand. The premiere drew a curated mix of fashion industry insiders and Hollywood names, signaling the label’s shift from its recent understatement toward a more expansive, unapologetic aesthetic.

Gwyneth Paltrow arrived in Milan in a head-to-toe Gucci look that paid homage to the brand’s instantly recognizable print, posing confidently ahead of the screening. Lila Moss followed suit with a more weathered, contemporary edge: an edgy black leather mini skirt paired with snakeskin boots and a simple black jumper, finishing the look with a matching handbag as one of the first attendees at the event. Moss had just hours earlier taken a front-row seat at Burberry’s London show, underscoring her status as a familiar face across the luxury fashion calendar.

As Gucci opened a new era, Demna—formerly the creative director at Balenciaga—briefly spoke about the direction of the house. The debut collection, named La Famiglia, is described in a Gucci press release as a return to storytelling; it leans into a “going back to the future by way of the past” aesthetic that will anchor Demna’s Gucci vision ahead of his first show in February for the Autumn/Winter 2026 season. The language marks a distinct shift from the prior era led by Sabato De Sarno’s more restrained, refined approach to everyday wardrobe. Industry observers noted a deliberate transition toward clear silhouettes and a borghese, or bourgeois, sensibility that nonetheless carries Demna’s signature narrative drive. Dryce Lahssan, a fashion consultant, told Vogue Business that this first collection reads as a direct, accessible entry point into Demna’s storytelling—one that invites consumers to identify with a Gucci family archetype rather than a strictly radical reimagining.

Scholarly perspectives on the show’s move toward heritage-informed design echoed in remarks from Benjamin Simmenauer, a professor at the Institut Français de la Mode. He suggested the collection serves to reassure investors and consumers that Demna can translate his high-concept instincts into something more broadly legible, noting that the line nods to Tom Ford and Alessandro Michele while leaning into Gucci’s archival language. The collaboration between Jonze and Reijn on The Tiger further situates the project within a multimedia storytelling framework that the house is using to anchor its rebranding during a critical period of leadership transition.

Lila Moss’s appearance at Gucci’s presentations aligns with her recent high-profile campaigns and runway moments. In addition to her fashion work, Moss has stepped into conversations about health and inclusion in fashion narratives. She has spoken publicly about living with diabetes and has participated in campaigns and discussions that highlight disability and chronic health considerations in models’ lives. Moss previously fronted Barbie’s first-ever campaign featuring a diabetic doll, a role she discussed in interviews about living with diabetes and managing a continuous glucose monitor and insulin pump on the catwalk. Those personal dimensions intersect with fashion’s ongoing push toward more representative storytelling, a thread that Demna’s Gucci era appears poised to incorporate as it builds its brand narrative around La Famiglia.

The Tiger’s cast includes Oscar-nominated performer Demi Moore, whose involvement underscores Gucci’s intent to fuse cinema with fashion in a way that extends beyond a traditional fashion-week presentation. The film’s creators have described the project as a gateway to Gucci’s new storytelling arc—an approach that Demna has signaled will define the brand’s aesthetic and cultural footprint in the months ahead. As the short film screens alongside the unveiling of La Famiglia, observers will be watching not just for the silhouettes and prints but for the tonal direction, the narrative threads, and the way Gucci positions itself within the broader luxury landscape amid intensified competition among fashion houses.

Gucci, which has undergone a leadership transition in recent weeks, is signaling that its next acts will blend couture-level spectacle with a more story-driven, character-based approach. Demna’s stated aim for the collection is to establish a foundation for the house’s future while honoring Gucci’s heritage. The press materials emphasize a revival of Gucci’s storytelling prowess, with references to archival patterns, familiar silhouettes, and a sense of theatricality designed to engage a global audience. Industry watchers will be looking for how these elements play out on the runway, how the short film complements the collection, and how the label can sustain momentum as it prepares for the next major show in February for the Autumn/Winter 2026 season.

In Milan, the premiere served as a statement of intent for Gucci and for Demna personally. The brand’s embrace of a more expansive, narrative-driven direction comes amid questions about how a newly minted era will harmonize with Gucci’s storied past. The film’s theatrical framing, combined with La Famiglia’s emphasis on clear lines and a strong, famiglia-inspired aesthetic, suggests that Gucci intends to balance reverence for its archives with a forward-looking insistence on bold, sharing-era storytelling. As the fashion world watches, the collaboration among directors Spike Jonze and Halina Reijn, the presence of A-list attendees, and Moss’s and Paltrow’s high-profile appearances collectively signal a carefully choreographed reinvention that Gucci chiefs hope will translate into consumer enthusiasm and retail momentum in the seasons to come.