Gucci just shook the fashion world to its core by ditching the traditional runway for a mind-bending 20-minute film—a move that’s as bold as it is baffling. But here’s where it gets controversial: Is this the future of fashion, or just a flashy distraction from the industry’s deeper issues? In early February, Soho House Mumbai broke its exclusive rules for a special screening, complete with Gucci-branded popcorn boxes, to debut The Tiger, a short film directed by Spike Jonze and Halina Reijn. This wasn’t just a fashion statement—it was Demna’s audacious opening act as Gucci’s creative director, premiering in New York and Milan back in September 2025.
The film itself is a star-studded affair, blending fashion satire with family drama. Demi Moore leads as Barbara Gucci, a high-strung matriarch juggling legacy, public image, and family politics while preparing to unveil the La Famiglia collection. Set during a birthday dinner, the story takes a wild turn when psychedelics spike the champagne, unleashing chaos, power struggles, and raw insecurities. Edward Norton, Keke Palmer, Kendall Jenner, and Elliot Page round out the cast, each embodying a unique flavor of dynastic dysfunction. And this is the part most people miss: Demna isn’t just telling a story—he’s holding a mirror to fashion’s self-importance, celebrating and dismantling its mythology in one fell swoop.
Before the film even dropped, Gucci teased La Famiglia with a lookbook of 37 striking portraits by Catherine Opie. The series introduced archetypes like L’Archetipo, the Principino, the Bastardo, and the Narcisista, nodding to Gucci’s luggage roots while reimagining its heritage. Demna didn’t play it safe—he leaned into Gucci’s narrative DNA, blending maximalist drama with sensuality. Think feathered opera coats paired with hosiery bodysuits, high jewelry against bare skin, and slinky shirts tucked into low-slung trousers with double-G belts (a clear homage to Tom Ford’s ’90s era). The Bamboo 1947 bag gets a tougher redesign, the Horsebit loafer goes square-toed, and the GG monogram remains omnipresent.
All of this—the film, the portraits, the Mumbai screening—is just the prologue to Demna’s first Gucci runway show. In an industry battling fatigue and financial strain, spectacle alone won’t cut it. Here’s the bold question: Can Demna’s story-first, character-driven approach save Gucci, or is it just another attempt to stay relevant? His opening move suggests a brand that’s self-aware enough to critique its own mythology, but only time will tell if it resonates. Gucci, under Demna, feels poised for its next act—but will the audience buy it? Let’s debate this in the comments: Is fashion better off when it takes itself less seriously, or does it risk losing its magic?
