In the first week of February, Soho House Mumbai traded its usual members-only rule for a special screening that included Gucci-monogrammed popcorn boxes. Instead of unveiling its spring/summer 2026 collection in a traditional runway style, Gucci played it differently. The Tiger , a 20-minute short film, is Demna's opening move at the house. Directed by Spike Jonze and Halina Reijn, The Tiger is fashion satire masquerading as family drama and first premiered in New York and Milan in September 2025.
The cast itself assembles the who's who of Hollywood. Demi Moore stars as Barbara Gucci, a tightly wound matriarch juggling legacy, optics and maternal diplomacy while preparing to unveil a collection titled La Famiglia . A birthday dinner sets the stage. There's talk of a looming global crisis. Someone spikes the champagne with psychedelics. Naturally, chaos follows, the family implodes, insecurities spill out, and power shifts. Edward Norton, Keke Palmer, Kendall Jenner and Elliot Page round out the ensemble, each embodying a different flavour of dynasty dysfunction.
Demna has always enjoyed holding a mirror up to fashion's self-seriousness. In this short, he leans into the mythology of the great fashion family, the control, the fragility, the performance, is both celebrated and quietly dismantled.
Before the film came the portraits. La Famiglia was first introduced through a lookbook of 37 sharply composed images shot by Catherine Opie. The series opened with L'Archetipo, a newly constructed Gucci trunk (a nod to the house's luggage origins) before expanding into a cast of archetypes: the Principino, the Bastardo,the Partyboy, the Narcisista, the matriarch, the seductress. Gucci has always thrived on narrative, and Demna tapped into that lineage instead of sanding down the house codes into a polite version of nostalgia.
The campaign has silhouettes that swing between maximalist drama and sensuality. The designer refracts sensuality through a sharper, slightly ironic lens, pulling from multiple eras, including Ford's sleek provocation and Alessandro Michele's romantic eccentricity. Feathered opera coats alongside seamless hosiery bodysuits, high jewellery against bare skin, slinky, chest-baring shirts tucked into wide, low-slung trousers secured with double-G belts (a clear nod to Tom Ford's '90s Gucci era), oversized leather coats brush up against tailored precision, and logo knits with sculptural sunglasses. The Bamboo 1947 bag is re-proportioned and tougher. The Horsebit loafer returns square-toed. And the GG monogram is ever present.
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