The real-life Gucci saga is so outrageous that to this day commentators lean on fiction—Greek tragedies, Dynasty, Dallas, even the Borgias—in their attempts to explain the drama. Let’s add Shakespeare to that list because Juliet’s famous line: “What’s in a name? / That which we call a rose / By any other name would smell as sweet” seems to get right to the heart of the matter.
Many of you will by now have seen the clip from Ridley Scott’s upcoming House of Gucci in which Lady Gaga as Patrizia Reggiani confronts her husband Maurizio Gucci, played by Adam Driver, saying “Gucci’s not exciting and everybody knows it.” He replies, “At least it’s my name, sweetie.” “Our name, sweetie,” Reggiani retorts. Theirs was a marriage that ended in divorce and led to murder. Reggiani was found guilty by the Italian courts of hiring a hitman to kill her ex-husband.
The outsider who upsets the family dynasty is a familiar trope, one that’s explored at depth in the film. But the story begins with the house founder Guccio Gucci, who was said to pit his boys against each other and in his will overlooked his daughter, distributing his inheritance among his sons, Aldo (Al Pacino, in the movie), Vasco, and Rodolfo (Jeremy Irons).
Before we get ahead of ourselves, a bit about the family’s early years. Born in Florence, Guccio left Italy for England where he worked at the Savoy Hotel in London and observed the customs and tastes of the rich and famous. Back home, he founded Gucci in 1906, mainly as a saddlery with some items for town. Responding to the needs of the modern carriage trade, who were by then traveling by means other than horse, the company began focusing on artisanal leather goods in 1921. It’s about that time that the second generation of Guccis joined the business. And it is the accomplishments of the sons of Guccio, spanning roughly two decades from the 1950s through the 1970s, that Tom Ford revisited when he first started making his mark on the house in the 1990s.
Meanwhile, a bedroom drama was developing between Maurizio and Patrizia. Circa 1984 he packed a bag and told his wife he was leaving on a business trip only to send a friend the next day to inform her that he had left her for good. In 1993 Maurizio sold his shares to Investcorp, ending the Gucci family’s involvement in the company. His divorce from Patrizia was finalized in 1994; he was shot outside of his office the following year.
As someone deeply immersed in the world of fashion and cultural narratives, it's evident that the House of Gucci is not just a brand but a saga filled with real-life drama that rivals the plots of Greek tragedies, Dynasty, Dallas, and even the Borgias. The intricacies of this narrative are so compelling that even Shakespeare's words find resonance, as the battle over the Gucci name becomes a central theme, echoing Juliet's timeless question, "What's in a name?"
The upcoming film by Ridley Scott, "House of Gucci," offers a glimpse into this captivating saga, and the trailer, particularly the scene where Lady Gaga, portraying Patrizia Reggiani, confronts Adam Driver's Maurizio Gucci, adds a layer of complexity to the narrative. The dialogue about the excitement or lack thereof in the Gucci name is a poignant reflection of the real-life events that unfolded within the Gucci family.
To understand the roots of this familial turmoil, one must delve into the history of Gucci, starting with its founder, Guccio Gucci. Born in Florence, Guccio's journey from working at the Savoy Hotel in London to founding Gucci in 1906 reflects his keen observations of the lifestyles of the rich and famous. Initially, the brand focused on saddlery with some town items, but by 1921, responding to the changing modes of transportation, particularly the decline of horse-drawn carriages, Gucci shifted its focus to artisanal leather goods.
The familial dynamics within the Gucci household, however, were far from harmonious. Guccio Gucci's will, as depicted in the film, set the stage for conflict among his sons. The exclusion of his daughter and the distribution of inheritance among his sons—Aldo, Vasco, and Rodolfo—fueled internal strife, creating a foundation for the family drama that would unfold in later years.
As the narrative unfolds, the film explores the outsider trope, embodied by Maurizio Gucci, who disrupts the established family dynasty. The complexities of family relationships, power struggles, and betrayal become central themes, mirroring the Shakespearean tragedies that are often invoked in attempts to make sense of the Gucci saga.
The timeline spanning the 1950s through the 1970s, highlighting the accomplishments of the second generation of Guccis, becomes pivotal to understanding the legacy that Tom Ford revisited when revitalizing the brand in the 1990s. The success and controversies surrounding the family members during this era lay the groundwork for the tensions that would eventually lead to Maurizio's departure from the company and the subsequent unraveling of his marriage to Patrizia.
The bedroom drama between Maurizio and Patrizia, culminating in divorce and eventually murder, adds a dark and tragic dimension to the Gucci saga. The sale of Maurizio's shares to Investcorp in 1993 marked the end of the Gucci family's direct involvement in the company, and his tragic fate, shot outside his office in 1995, brings the narrative full circle.
In conclusion, the House of Gucci is not just a luxury brand but a narrative tapestry woven with familial conflict, power struggles, and tragic events. The film promises to be a visual exploration of the real-life drama that continues to captivate audiences, transcending the boundaries between reality and fiction.
