Issue link: https://digital.copcomm.com/i/1438629
H O U S E O F G U C C I | P E R S P E C T I V E 9 9 only lights that moved with the models as they emerged onto the runway. The runway was a simple straight run coered with TS Silergrips, a nonslip inyl dance oor material in a light gray as recommended by Silia orani, the choreographer, with a gray painted proscenium arch anked by a pair of large gray marbled columns. There was also an unepected sound issue with the fashion show runway which tended to act as a reverberation chamber and had to be attenuated using a fibrous insulation material to absorb the echo. e iewed seeral Tom ord fashion shows for Gucci around this period and noticed this consistent pattern to his style of presentation and tried to replicate it in our show. Simple and elegant with an element of seuality. The specific sets discussed in this article and the people who I have named who worked on them are ust a small fraction of the total it took to make House of Gucci the marvelous movie that it is. I regret that there isn't more space for me to do ustice to all the many sets and locations that went into making it, or to mention all our amaing crew, not ust in the Art Department, but everyone who did such a tremendous ob on the film, especially under the current conditions—to all of them. raie mille ADG C. GUCCI FASHION SHOW 1994. CONCEPT ILLUSTRATION. D. GUCCI FASHION SHOW 1994. COLOR PALETTE. Arthur Max, Production Designer Cristina Onori, Super vising Art Director Rocco Ceraolo, Jeremy Imaz King, Massimo Pauletto, Gianpaolo Rifino, Saverio Sammali, Art Directors Silvia Colafranceschi, Claudia Granucci, Dario Nolé, Assistant Art Directors Fausto De Rossi, Francesco Grossi, Emanuela Piu, Draughtspersons Gianpaolo Rifino, Fausto de Rossi, Illustrators Tommaso Borelli, Flavia Ballarin, Antonia D'Orsi, Graphic Artists Letizia Santucci, Luisa Lemma (Assistant) Set Decorators C D