As a gaudy Italian woman myself, I was eager to dissect Lady Gaga’s House of Gucci wardrobe. In fact, I was chomping at the bit—Gucci horsebit pun very much intended! And while I’m not normally one with the patience to watch a super-lengthy film, I found myself glued to the screen during this particular movie, less so for the plot and more so for the fashion. House of Gucci is a story of love, family and murder, but it’s also a story about one of the most well-known fashion houses to date. So of course, the sartorial serves had to be on point.
In particular, Lady Gaga’s wardrobe as Patrizia Reggiani-turned-Gucci did not disappoint. Whether she was sporting head-to-toe Gucci logos in New York City or a fox fur hat and fitted snowsuit in St. Moritz, her wardrobe served as an extension of her character, evolving as she entered the world of Maurizio and the Gucci family.
If my count serves me right, Gaga wore 45 looks throughout the film (although costume designer Janty Yates told WWD 54, and she’s presumably correct), and I’m including lacy robes, towels, hospital gowns and costumes/disguises in that count. That said, there weren’t nearly as many wow-worthy outfits in the film as I’d expected. In fact, I’d argue we learned more about Patrizia from her accessories than her clothes.
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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 accessorizing was simply the norm for women of the era, but it seemed to me that Patrizia wore her jewelry as armor. I doubt she felt a look was complete without a conversation-starting necklace or a sparkling pair of earrings drawing all eyes to her pretty face. In fact, I only remember seeing her without earrings in two scenes in the film (Skip this part if you haven’t watched yet!): When she briefly mourns Maurizio’s death alone, she is earring-less. 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, I might’ve thought she’d get away with her crime.
You might think I’m being dramatic, but this is a woman who was decked out in jewelry even in the tub, as we see in one steamy hookup scene. But in that particular moment, she was otherwise naked, and I’m here to talk about the fashion! Below, read on for 10 must-see Patrizia ensembles from the film.
Trust me, they’re good even if you can’t sit through all 2.5 hours to see ’em in action.
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In Sequins at Studio 54
Of course, our accessories queen piled it on for a night of dancing 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 plethora of gold necklaces, chunky bracelets and dangling earrings.
Everett Collection.
In Red as Elizabeth Taylor at a Costume Party
How meta to see Lady Gaga in costume as Patrizia Reggiani, in costume as Elizabeth Taylor! This red dress was seriously wow-worthy, and all the better when accessorized with Patrizia’s diamond and gem-encrusted necklace and matching earrings. The black gloves really sealed the deal—when she approached Maurizio, he was both wowed and intimidated, two emotions every good ensemble should provoke.
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In Her Wedding Gown
Let the record show that Patrizia Gucci’s 1973 wedding gown was quite a bit more modest than then iteration Gaga wears in the film. There was no sweetheart bust or illusion neckline in sight! 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.
Everett Collection.
In White Lace at a Birthday Party
OK, this was one of my favorite looks in the entire film. It was such a serve. Everyone knows wearing white for a while leading up to and after one’s wedding is a super cheesy-cute thing for brides to do, and Patrizia is definitely that brand of old-school cheugy when she meets the family for the first time. That said, the dress and jacket are divine, and they fit her like a glove. Patrizia wears more diamonds than pearls throughout the film, but I prayed these dramatic drop earrings would make another appearance.
Everett Collection.
In Head-to-Toe Gucci in NYC
Besides a belt here and a scarf there, this is the first time we see Patrizia leaning in to the Gucci logo. We also rarely see her wearing pants unless she’s at home in jeans, so this tunic-and-trouser moment is particularly special. Styled with a brown fur coat, leather gloves and the iconic Jackie bag (named after First Lady Jackie Kennedy), she looks every bit the kind of woman ready to take over Gucci, one way or another.
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In Red & Black Polka Dots
This is a silhouette we see Patrizia in often: Long sleeves, strong shoulders and a pencil skirt or fitted dress. It’s a pretty standard look for the time period, but she makes it her own with cleavage-baring necklines, belts (like this Gucci one) to cinch her waist, bold patterns and of course, lots of jewelry. Out of all the looks I loved, this one could be argued as the most classically Patrizia.
Everett Collection.
In Purple with a Mink Stole
In this scene, Maurizio’s cousin, Paolo, confronts the not-so-happy couple about their wrongdoings. While he looks distressed, Patrizia looks glamorous as ever, only further reinforcing that in terms of control, he is out and she is in. She wears purple, a color often associated with power and royalty, plus sky-high stilettos and a luscious mink stole—two obvious “Don’t Fuck with Me” accessories if I’ve ever seen them.
Everett Collection.
In Her Winter Best in St. Moritz.
When Gaga rolls up to crash Maurizio’s St. Moritz second life, she rolls up in style. If a black turtleneck and a bevy of gold and pearl chain necklaces weren’t enough to make a statement, she layers on a fur coat and a massive white fur hat for good measure. Based on promo shots we saw before the film came out, I thought we’d see dozens of looks like this one, but Patrizia didn’t stay in St. Moritz for long. She came, she slayed, she threatened his lover, and she was ousted.
Everett Collection.
In Ski Attire in St. Moritz
This was another red-hot St. Moritz moment, featuring a skin-tight ski suit and matching red goggles. Of course, still acessorized to the nines with fur and some lavish gemstone earrings! In this scene, Patrizia is trying her best to intimidate Maurizio’s lover, and her fiery red ‘fit and dramatic glam are intended to be in direct contrast to Paola’s no-makeup makeup and breezy blonde locks.
Everett Collection.
In a Pink & Black Lace Skirt Suit
Not to flex, but my mom has almost this exact blazer in her closet left over from the same era, so I’m starting to wonder if she was hanging out with the Gucci gang back in her youth. But I digress! This was another of my favorite Patrizia looks, because she was all armored up with diamonds around her neck and in her ears, ready to take what she wanted: the House of Gucci. In all black, the look would’ve fell flat, but the fuchsia jacket and lace lapels bring it right up to her over-the-top standards.
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