The story behind the 54-look costume worn by Lady Gaga in the movie “House of Gucci” –WWDJAPAN

The movie “House of Gucci”, which is about to be released on January 14, is a luxury movie that depicts the murder of the founder Maurizio Gucci and the collapse of the splendid GUCCI clan based on a true story. As a suspense, it also attracts attention in the fashion industry. In the United States, it was released earlier on December 19, 2009, and there is interest in the fashion and direction of movies. Janty Yates was in charge of the costume for the film, directed by Ridley Scott. Weared by Lady Gaga’s 54-wear look, who played Patrizia Reggiani, and by Adam Driver, who played Patrizia’s husband Maurizio, as a turbulent presence in the Gucci clan. He tells the story behind the costumes, such as the suit of “ERMENEGILDO ZEGNA” and the vintage “Gucci” accessories collected at the frimasite “EBAY”.

WWD: What do you think is the appeal of movies?

Yates:There are three. One is the story about the brand “Gucci”, which has a great influence on both fame and history. The second is that it contains elements of suspense that are wrapped in “secrets” not only in the United States but around the world. The story about the “Gucci” clan may have been heard once in Italy, the land where the brand was born, but it is not well known in the world. The late Gianni Versace, the founder of “VERSACE”, was shot by Maimami and became news worldwide. There wasn’t much talk about the death of Maurizio, played by Adam Driver. The third is Lady Gaga. It is no exaggeration to say that he is the most famous person in the world after Queen Elizabeth of England, where I am from.

WWD: Did you know about movies before production?

Yates:Ridley’s wife, Giannina, said she had a plan for production for 20 years. I didn’t know it for so long, but I’ve been listening to it for about seven years. Talking back and forth, finally a year ago, actor and screenwriter Matt Damon called Ridley and said, “I finished the script with Ben Affleck, but I’m going to direct it. “?” And started production.

WWD: As a costumer, what did you care about when working on a project related to a major brand like “Gucci”?

Yates:Roughly speaking, the design of “Gucci” in the 70’s is mainly brown and soft silhouette. By expressing the “Gucci” character with costumes, we focused on enhancing the fun of the Gucci family structure. For example, Patrizia, who plays Gaga, is said to have hardly worn “Gucci” at that time. It seems that he wore only “YVES SAINT LAURENT” and “DIOR”, but the accessories were “Gucci”. I think belts and bags have been popular since the 1940s. But Tom Ford was the only one to revolutionize the brown and burgundy-centric colors of the era. It was really shocking.

WWD: We were surprised when Tom Ford appeared in the movie.

Yates:The show Tom Ford released in 1995 was truly groundbreaking. In order to recreate the 1982 collection of “Versace” and the scene of “Tom Ford”, associate designer Stefano De Nardis created and reproduced the costume from scratch. He searched for a model that looked like legendary model and actress Amber Valletta, and created a great scene. The collection of Paolo Gucci, known as the “maverick designer” of the Gucci family, was tasteless because he himself called it “pastel and brown”. But I think it still looked gorgeous. With Stefano’s design, it has a beautiful finish.

WWD: How much vintage items and items finished by the production team were used in each work?

Yates:I wasn’t aware of it, but I think Domign Young, who leads the production team, and his team probably made 60-65% of the costumes. And 30% looked for vintage ones, and the remaining 10% came from the Roman “Neiman Marcus”. I made those days “Lina Chante” (regeneration). Gaga was also very supportive of the outfits, so he offered a lot of options. One day, he said, “I don’t want to wear it today. It’s a nice outfit, but I feel different today.” So I think I spent a lot of time fitting. In addition, he was paying attention to the appearance in the work, such as giving an opinion that “I should make the lip liner darker today.” I think that the look that was adopted was about 3 to 4 out of many, but Gaga was thoroughly thinking about the details. At the time of shooting, I prepared everything from shoes to belts and bags by hand. According to the scene, Gaga said, “I’ve seen it in vintage, so I want to wear it when I go to see Paolo,” and chose the dress of “Yves Saint Laurent.”

WWD: What did you feel about working with an actor who has a strong interest in costumes like Gaga?

Yates:I love the work of thinking with the actors, including director Ridley. Ridley always gives a frank opinion. Our job is to unilaterally propose clothes and makeup that “this should be good”, but when it gets hooked, the actors perform best. Every time I had 4 or 5 candidates, I asked, “What about this, but what about this?” Gaga said, “Then, what about this and this?” “This look has something to appeal to!” Overlap. Gaga wore 54 looks in all, and finished all the looks perfectly with “This is it!”. I got a lot of opinions and it was really fun.

WWD: Patrizia Reggiani, played by Gaga, is a real person, but have you been inspired by other historical figures when deciding on costumes?

Yates:Of course there was! Ridley wanted to make her look like Italian actress and photojournalist Gina Lollobrigida, so she researched and discussed her fashion in the 1960s. In fact, she incorporates the dresses and jackets she wore at Aldo Gucci’s birthday party. In the movie, the laces found by the buyers were used to make a modern arrangement. I liked the look so much that I made the whole outfit. In addition, Gaga’s red dress, which appears early in the movie, is based on the low-cut, sexy pink dress that Gina wore. I reproduced it using satin and realized that it worked.

WWD: What did you do first when you were in charge of costumes? Did you visit the Gucci Museum in Florence?

Yates:When I got the script, I was just on vacation in Rome with my costume colleagues, so I talked to them about the Gucci Museum. I read the script while having lunch and was enthusiastic that “Oh my god! I have to do this in Italy!” Immediately I moved to Florence and enjoyed the museum. It was a really wonderful space.

WWD: Did you collaborate with “Gucci” to make costumes?

Yates:I didn’t get in touch at first, but I approached to see the archive. It took me a few months to see it, but it was basically supportive. “Is it possible that designer Alessandro Michele will make a costume for Jared Leto, who plays Pablo Gucci? They have a friendly relationship,” he told the archive director. I asked, but he replied, “No, I don’t think it fits my budget anyway.”

WWD: Did you have any doubts about the immediate rejection?

Yates:“Gucci” has the impression that Michele and the archive are extremely important. But I’ve had a long-standing relationship with Robert Triefus-Gucci Executive Vice President and Chief Marketing Officer, and thanks to him I was able to bring the “Gucci” archive to Los Angeles. When I tried it on Gaga, he really liked it and it looked really good! I ordered it again from Florence at the time of shooting and kept it strictly during the period.

WWD: What is your commitment to the costume of Adam Driver as Maurizio Gucci?

Yates:Looking at Maurizio’s photographs of the time, his fashion is impeccable. It looks as if it was finished with Savile Row, a street in London known for its concentration of prestigious bespoke luxury men’s clothing stores. He seemed to like a beautiful suit, even though he looked conservative. For the outfit, we appointed New York tailor Leon Logsdail to tailor 40 suits for Adam. In addition to the vintage “Gucci” he brought to his tie, I have a total of 60 ties that my buyers have collected from the resale site. The suit is also supported by “Zegna Zegna”. The shoes are also the best, with attention to detail from color to shape.

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