Director Luca Guadagnino and production designer Stefano Baisi turn their attention from film sets to the home with an extraordinary new Zara Home collection spanning more than 200 pieces of furniture, lighting, tableware, textiles, fashion and scent, accompanied by a new short film.

Anyone who has watched a Luca Guadagnino film knows that rooms matter.

From the sun-drenched Italian villa of Call Me By Your Name to the extraordinary Milanese interiors of I Am Love, furniture, architecture and objects have long played an important role in the worlds Guadagnino creates.

A dining table, a carefully mismatched collection of chairs, the colour of a wall or an object sitting on a shelf can tell you a lot about the person who lives there. Guadagnino’s films often make interiors active participants in the story, and his continuing collaboration with architect and production designer Stefano Baisi has made that relationship between cinema and design particularly fascinating.

Now the pair have taken that thinking somewhere rather more shoppable.

Baisi Guadagnino for Zara Home, launching on 26 September 2026, comprises more than 200 designs, ranging from sofas, chairs and lighting to rugs, ceramics, tableware, fragrance and decorative objects, alongside a fashion collection for Zara. It marks the first time Guadagnino and Baisi have put their names to a collection on this scale for the home and wardrobe.

For Film and Furniture readers, however, the particularly interesting part is the route that has brought Guadagnino and Baisi here.

From the film set to the living room

Guadagnino established his interiors practice, Studio Luca Guadagnino, in 2017, initially following a commission to design a house on Lake Como. Baisi joined him that same year, working across residential projects, hotels, retail spaces and fashion before Guadagnino asked him to make the leap into cinema as production designer on Queer.

That was where we first spoke at length to Baisi about his approach to production design.

For Queer, starring Daniel Craig and Drew Starkey, Baisi and his team constructed the film’s 1950s Mexico City almost entirely from scratch at Cinecittà. Architecture, furniture, colour and scale were manipulated to create a world that felt recognisable while remaining slightly detached from reality.

As Baisi told Film and Furniture at the time:

“We tried to create something that wasn’t real but felt emotionally authentic to the characters.”

That’s worth remembering when looking at this new collection. Baisi and Guadagnino’s work together has always involved constructing complete environments rather than selecting attractive things in isolation.

The pair followed Queer with After the Hunt, where Baisi’s production design took a markedly different turn. For the New Haven home of Alma and Frederik, played by Julia Roberts and Michael Stuhlbarg, he imagined an interior accumulated over several generations, weaving Wiener Werkstätte and Bauhaus influences together with later American furnishings, William Morris upholstery, art and objects collected through travel.

Baisi told us that he conceived the apartment as having three distinct layers of time, allowing the possessions to suggest family history, taste, education and experience.

That same appetite for mixing periods, places and references runs straight through the Zara Home collection.

An ‘atlas of desire’

Zara Home describes Baisi Guadagnino as an “atlas of desire”, and the references roam widely across design history.

Early 20th-century Vienna sits alongside Brazilian modernism, French Art Deco and Italian radical design. The collection moves between rich upholstery, sculptural furniture, polished metal and occasional surreal touches.

Among the pieces is the Purkersdorf chair, made in oak and wool and named after Josef Hoffmann’s Purkersdorf Sanatorium outside Vienna, a particularly interesting reference given Hoffmann’s presence in Baisi’s work on After the Hunt.

Elsewhere, forms become stranger and more playful. The Amalita desk and Cygni coffee table stand on unusual drooping supports, while the wonderfully named Uncollected sofa has the scale and presence of an upholstered landscape.

It also signals just how far Zara Home is prepared to move into serious design territory: the Uncollected sofa is listed at £11,660.

Beyond the furniture, the collection spreads across ceramics, textiles, tableware, scent and clothing, creating the sense of a complete domestic world rather than a conventional capsule range. Speaking to Wallpaper, Guadagnino explained that this idea of constructing an entire world was central to the project.

That feels particularly cinematic. A film set rarely succeeds because of one chair or one lamp. Its character emerges through the relationship between everything in the room.

Is the furniture inspired by Guadagnino’s films?

Although Guadagnino’s own films have such a recognisable visual language, the collection reaches well beyond his filmography.

In his interview with Wallpaper Guadagnino cited films including Nagisa Ōshima’s The Sun’s Burial, Edward Yang’s Yi Yi and Jean-Luc Godard’s Prénom Carmen (First Name: Carmen) among the project’s visual references.

That broader approach makes sense when considered alongside Baisi’s work in production design. In cinema, furniture has a job to do. It can describe character, history, status, relationships and psychology. A domestic object on screen is rarely there purely because somebody thought it looked good.

Baisi has spoken about the distinction between creating sets for fictional characters and designing objects for people to actually live with. The latter ultimately has to leave the controlled world of the image and enter somebody’s real home.

For anyone fascinated by production design, that makes this collaboration considerably more interesting than the usual designer-meets-high-street exercise.

And naturally, Guadagnino has made a film

There was never much chance that this project would stop at sofas.

The collection is accompanied by a new 20-minute short film directed by Guadagnino, written by Scott Z. Burns, whose screenwriting credits include Contagion, The Bourne Ultimatum and The Report.

Its cast is rather more substantial than one might expect from a furniture campaign: Jamie Bell, Patricia Arquette, Michael Stuhlbarg and Chase Sui Wonders.

Baisi handled the production design, bringing the project neatly back to cinema. Furniture created by Guadagnino and Baisi becomes part of a screen world designed by Baisi and filmed by Guadagnino.

At the time of writing the film has yet to be released publicly, and we’re particularly keen to see how the collection has been used within it.

The pair have also designed the physical presentation of the collection at La Pelota in Milan, where a public installation will run on 26 and 27 September during Milan Fashion Week.

Guadagnino, Baisi and the stories interiors tell

We’ve been following this partnership for some time at Film and Furniture.

Our interview with Stefano Baisi about the production design of Queer explored how he constructed an entire heightened reality through architecture, furniture, materials and miniatures.

More recently, we looked inside Guadagnino’s After the Hunt, where the characters’ rooms reveal histories and contradictions that dialogue alone never could.

And earlier Guadagnino films including Call Me By Your Name and I Am Love have long demonstrated his fascination with the way people inhabit buildings, and the way those buildings help tell their stories.

The Zara Home collaboration takes those ideas beyond the screen.

And for those of us who spend an unreasonable amount of time wondering where the furniture in films came from, there is something pleasingly circular about that.

This time, we already know where to buy it.

Baisi Guadagnino for Zara Home launches online and in selected stores worldwide on 26 September 2026.

We’ll update this feature with our favourite pieces, prices and where to buy once the collection goes live.