有人称此片美轮美奂的氛围犹如Visconti 转世，也有人将其比作查特莱夫人的情人的现代版。看这电影的由头很简单，就是冲着Raf Simons的造型设计去的。看罢由衷赞叹影片的精雕细琢，服装、场景、音乐的设置等的细节都铺垫出少见的迷人格调，一下子就脱颖而出了。比如Morandi画作的出现，他标志性的色调和Tilda Swinton身上的Jil Sander呼应出了这个瑞奇家族的品味和偏好，虽然有意大利的评论家强调这种极简主义很少能在米兰的上层阶级觅得踪影，但这并没有抹去电影在造型设计上的半点成功。又比如Sonia Delaunay作品在片中的再度演绎，宴会上 Tilda Swinton的那条菱形格纹披肩呼应了她的双重身份，俄罗斯古董修复员的女儿以及意大利面料家族的女主人。本想写得更多些，可是早有人写在了前面，并且写得着实到位。以下是三段评论摘录：
Oscar Costume Design #5 : Guadagnino in fact pays homage to a great deal of ‘50s movies. See the shot of Emma/Tilda Swinton from the back with a chignon typical of Hitchcock, who had requested that Kim Novak’s hairstyle in Vertigo made reference to the similarities between a tornado and sexual organs.Or the scene on the roof of the Duomo in Milan taken from Visconti’s Rocco and his brothers .
Inspired by I Am Love : Swinton’s character starts off in easy, neutral pieces, almost in an effort to blend into the Italian scenery. As she begins an affair with her son’s friend, Antonio, the color choices become more intense – bright tangerines and seductive reds – and as the film rounds out with a family tragedy, the colors reign back in towards ashen grays and black. It’s a full spectrum color evolution which is kept subtle by simple, minimal shapes and classic tailoring.
I Am Love Review : The director Guadagnino pieces this together in a dreamy, impressionistic way reminiscent of Visconti, particularly in his mixing of long shots and extreme close-ups.Yorick Le Saux's prowling camerawork in the scenes where Emma spies on Antonio evokes the half-sickened, half-yearning mood of Dirk Bogarde's Von Aschenbach stalking Tadzio through the streets in Death in Venice.Marisa Berenson (another echo of Death in Venice) is superb as the faintly terrifying Recchi matriarch.
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