🕷️ Crawler Inspector

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Raw Queries and Responses

1. Shard Calculation

Query:

Response:

Calculated Shard: 84 (from laksa018)

2. Crawled Status Check

Query:

curl -X POST \
  'http://laksa084.int.ahrefs:8124/' \
  -H 'Content-Type: text/plain' \
  -H 'X-ClickHouse-Database: crawler3' \
  -H 'Authorization: Basic YXBpOg==' \
  -d 'SELECT getAhrefsURLFromUnparsed(src_unparsed) AS found_url, ifNull(toUnixTimestamp(download_stamp), 0) AS crawl_time, ifNull(toUnixTimestamp(props_url_first_seen), 0) AS first_indexed_time, download_http_code AS http_code, src_unparsed AS src_unparsed, src_root_hash AS src_root_hash, history_drop_reason AS history_drop_reason, meta_title AS meta_title, meta_descriptions AS meta_descriptions, attrs_boilerpipe_text AS attrs_boilerpipe_text, attrs_markdown AS attrs_markdown, attrs_readable_markdown AS attrs_readable_markdown, meta_canonical AS meta_canonical FROM crawler3.page_info_local FINAL PREWHERE (src_root_hash, src_unparsed) IN ((getAhrefsRootHashFromUnparsed(getAhrefsUnparsedNoserviceFromURL(\'https://www.nytimes.com/2021/11/30/style/guccis-criticize-house-of-gucci.html\')), getAhrefsUnparsedNoserviceFromURL(\'https://www.nytimes.com/2021/11/30/style/guccis-criticize-house-of-gucci.html\'))) FORMAT JSONEachRow'

Response:

{"found_url":"https:\/\/www.nytimes.com\/2021\/11\/30\/style\/guccis-criticize-house-of-gucci.html","crawl_time":1773101073,"first_indexed_time":1638268494,"http_code":200,"src_unparsed":"com,nytimes!www,\/2021\/11\/30\/style\/guccis-criticize-house-of-gucci.html s443","src_root_hash":"4566504020376537684","history_drop_reason":null,"meta_title":"The Guccis Are Really Not Happy About ‘House of Gucci’ - The New York Times","meta_descriptions":["When artistic license collides with reality, which one wins?"],"attrs_boilerpipe_text":"Advertisement\nSKIP ADVERTISEMENT\nUNBUTTONED\nWhen artistic license collides with reality, which one wins?\nLady Gaga as Patrizia Reggiani in “House of Gucci.”\nCredit...\nMGM\nPublished Nov. 30, 2021\nUpdated Dec. 3, 2021\nThe fractious Gucci family, whose internecine power struggles famously helped it lose the company Guccio Gucci founded in 1921, has finally found common cause once again.\nThe reason for the family’s reunification: “\nHouse of Gucci,\n” the 24-carat camp drama framed in pigskin about the murder of the family scion Maurizio Gucci. The film, starring Lady Gaga as Patrizia Reggiani, the spurned wife who commissioned the hit, and Adam Driver as Maurizio, opened in the United States last week, bringing 10 members of the dynasty back together to protest what they believe is a distortion of history, the family name and the brand they made.\nThe descendants of Aldo Gucci, one of the three sons of Guccio, and the man who turned the Florentine leather brand into a global sensation (and who is played in the film by Al Pacino as a sort of rumpled, prosciutto-spewing American cartoon of a Mafioso) issued a statement, reading: “Although the film claims to tell the ‘true story’ of the family, the narrative is anything but accurate, depicting Aldo Gucci — president of the company for 30 years — and other members of the Gucci family who were the protagonists of well-documented events, as hooligans, ignorant and insensitive to the world around them.”\nIt went on: “Even more censurable is the baffling reconstruction of events that advocate leniency toward a woman who was definitively convicted as the instigator of Maurizio Gucci’s murder. To see her portrayed as a victim — not only in the film but also in statements by the cast — who is trying to survive in a male-dominated corporate culture, is an injustice and could not be further from the truth.”\nPublic relations representatives for the film said that neither the producers nor Ridley Scott, the director, could be reached to respond to the family’s statement. Lady Gaga has\nacknowledged\nthat she did not engage with Ms. Reggiani (who has expressed her displeasure about not being consulted), or even read the book on which the film was based, the better to create her character from her own imagination, she has said.\nIn response to earlier criticisms from\nPatrizia Gucci\n(a daughter of Paolo Gucci, played by Jared Leto as a dolt of a designer in a bad corduroy suit) that the filmmakers were exploiting a family tragedy for Hollywood profit, Mr. Scott said on the BBC “\nToday” show\n: “I don’t engage with that. You have to remember that one Gucci was murdered and another went to jail for tax evasion, so you can’t be talking to me about making a profit. As soon as you do that, you become part of the public domain.”\nThe suggestion being: Once you’re in the public domain, your story is not your own. An assumption presumably exacerbated if your ancestors have deliberately transformed your family name into a brand that they then sold to the world. It’s kind of like saying they swapped the family soul for fame and filthy lucre, so tough luck.\nIt’s also why the family decided to take the fight public. It may seem like a squabble in a green-and-red horse-bit-tinged teacup, but at a time when the distinction between what is fact and what is fiction has become evermore porous, when the concept of so-called alternative facts has became a part of the general discourse, and when viewers tend to believe whatever they see onscreen (big or little), it has resonance that goes beyond the box office.\nImage\nPatrizia Reggiani in the 1980s.\nCredit...\nIpa\/Shutterstock\nTrue or Not True?\nSure, the Guccis are interested in perpetuating the aura of their own taste (even though they no longer have a financial relationship with Gucci the brand, they are deeply attached to the name). But that doesn’t mean their concerns are without merit. As Lady Gaga said in a British Vogue article, “I did my very best to play the truth.” But whose truth?\nNot, the Gucci family says, theirs. According to Patricia Gucci, the family began discussing the possibility of a joint statement a month or so ago, after the breathless reaction on social media to early trailers suggested there would be a wholesale embrace of Mr. Scott’s version and after earlier attempts by the family to contact the film’s producers before the movie was even in production were never returned.\nOn one level, this is not a surprise. For as long as there have been biopics, the people on whose lives they have been based (or the people with a stake in the lives on which they have been based) have often felt shortchanged or otherwise misrepresented by the result.\nMichael Oher was not happy with “The Blind Side,” nor Mark Zuckerberg with “The Social Network.” And there’s an entire industry in complaining about what “The Crown” gets wrong. “Based on a true story” is effectively creative code for “some artistic license involved,” which is itself shorthand for sacrificing fact to dramatic imperative and story arc.\nImage\nLady Gaga as Patrizia Reggiani and Adam Driver as Maurizio Gucci.\nCredit...\nMGM\nAs it happens, “Gucci” takes the caveats a step further, with the opening disclaimer “inspired by a true story,” a signal that the filmmakers may have taken more liberties than usual. (Another signal: All the characters speak English in various versions of fake Italian accents, a much-derided choice that makes no sense.)\nYet the film is not presented as magical realism, nor even overt satire. It is based on the nonfiction book by Sara Gay Forden, “The House of Gucci: A True Story of Murder, Madness, Glamour, and Greed,” and none of the names have been changed, creating an expectation that what the viewer is seeing is at least a plausible re-creation of a historical truth. There has been much discussion of the attention to period detail when it comes to the\nwardrobes\n— so ’70s and ’80s fabulous! Even some from the actual Gucci archive itself!\nBut a cursory and noncomprehensive list of some of the changes the filmmakers made includes: the erasure of three of Aldo’s four children (who were also in the family business); the deletion of Dawn Mello, a key figure in the Gucci renaissance under Maurizio and his outside partner, Investcorp (and a female power player); the collapsing of various outside lawyers and bankers into the single figure of Domenico De Sole, who has been turned into a Tom Hagen figure à la “The Godfather” who not only does professional dirty work but also personal; and the fast-forwarding of Tom Ford’s breakthrough collection to associate it with Maurizio’s leadership (not true; nor did it involve men or Gucci G-strings — those came years later).\nSuch reduction can often be excused in the name of art and story streamlining: plot details that matter only to insiders. And the actual Gucci saga, with its competing boardroom power plays, was convoluted at the best of times. At a time of limited attention spans, you can understand why it seemed better left on the cutting room floor.\nExcept that there is also another element that has also been elided in the film: the reason any of it mattered in the first place.\nImage\nMaurizio Gucci in the 1980s.\nCredit...\nIpa\/Shutterstock\nGucci Gucci Gucci\nFor that you have to go back to the myth of elegance, craft and a bit of flash encapsulated by the word “Gucci” that made the products — the shoes and bags and clothes — desirable as markers of both aspiration and achievement. And that was created largely by the exact characters the film turns into caricatures, embracing the showy trappings of success — furs! Ferraris! — to gussy up a rotten core. They may be entertaining to watch (Jared Leto and Lady Gaga may even get Oscar nominations out of it), but as tastemakers they are impossible to believe.\nBy most accounts, Aldo and even Paolo, not simply Maurizio and Rodolfo, were magnetic figures whose carriage reflected the soignée substance of what they were selling — and, indeed, helped sell it.\nIn\na recent review\nof the film for Air Mail, Tom Ford, who had a front-row seat to the whole story (though not the precise one depicted in the film), wrote: “In real life, none of it was camp. It was at times absurd, but ultimately it was tragic.” The lack of nuance in the movie made him, he wrote, “deeply sad.” In a phone call, Domenico De Sole said much the same.\nIn their statement the family said it reserves the right to “protect its name, image, and dignity,” which sounds like yet another Gucci case might be the offing. But Patricia Gucci (who is currently embroiled in\na different lawsui\nt, in which one of her daughters is suing her ex-husband for childhood sexual abuse, and she is named as a co-defendant) said there are no such plans; they are leaving it to the court of public opinion for now.\nWill it make a difference? It’s easy to dismiss the complaints as the whining of sore losers who are obsessed with image over all. But it’s exactly that image that formed a totem of identity that is part of the story of how we got to here: how so-called craft became a value unto itself and fashion vaulted from being a bunch of small family-run businesses into a global part of pop culture.\nAnd that in turn is part of what made the movie itself worth making, because that’s why a corporate and family crisis exploded into closets around the world. It’s part of why, since the film’s release, searches for Gucci products have gone into the stratosphere; according to the global fashion marketplace\nlovethesales.com\n, up 257 percent for Gucci bags alone.\nTo miss that seems not so much like creating art and more like fake news. And in that case, no one really wins.\nVanessa Friedman\nis The Times's fashion director and chief fashion critic. She was previously the fashion editor of the Financial Times.\nA version of this article appears in print on\nDec. 5, 2021\n, Section ST, Page 12 of the New York edition with the headline: The Guccis Fight to Protect the Family Name\n.\nOrder Reprints\n|\nToday’s Paper\n|\nSubscribe\nRelated Content\nUnbuttoned\nVanessa Friedman looks at fashion through the lens of politics, business and technology.\nKevin Mazur\/Getty Images\nMax Lautenschlaeger\/Visum, Redux\nPhotographs by Erin Schaff\/The New York Times; Kenny Holston\/The New York Times (second from right)\nMore in Style\nAislinn Rose Photography\nDenis Reggie\nMatteo Prandoni\/BFA.com\nNathan Smith\nEditors’ Picks\nIllustration by Tomi Um\nJames Devaney\/Getty Images\nTrending in The Times\nOffice of the Attorney General of California\nOntario Provincial Police\nSuzanne Saroff\nMPTV Images, via Reuters Connect\nJason Mowry\/Getty Images\nNicole Hester\/USA Today Network, via Reuters\nPhilip Lindeman\nPhoto Illustration by The New York Times; Photo: Scott Gries\/Getty Images\nMaria Baranova\nAdvertisement\nSKIP ADVERTISEMENT","attrs_markdown":"[Skip to content](https:\/\/www.nytimes.com\/2021\/11\/30\/style\/guccis-criticize-house-of-gucci.html#site-content)[Skip to site index](https:\/\/www.nytimes.com\/2021\/11\/30\/style\/guccis-criticize-house-of-gucci.html#site-index)\n\nSearch & Section Navigation\n\nSection Navigation\n\nSearch\n\n[Style](https:\/\/www.nytimes.com\/section\/style)\n\n[Log in](https:\/\/myaccount.nytimes.com\/auth\/login?response_type=cookie&client_id=vi&redirect_uri=https%3A%2F%2Fwww.nytimes.com%2Fsubscription%2Fonboarding-offer%3FcampaignId%3D7JFJX%26EXIT_URI%3Dhttps%253A%252F%252Fwww.nytimes.com%252F2021%252F11%252F30%252Fstyle%252Fguccis-criticize-house-of-gucci.html&asset=masthead)\n\nMonday, March 9, 2026\n\n[Today’s Paper](https:\/\/www.nytimes.com\/section\/todayspaper)\n\n[Style](https:\/\/www.nytimes.com\/section\/style)\\|The Guccis Are Really Not Happy About ‘House of Gucci’\n\nhttps:\/\/www.nytimes.com\/2021\/11\/30\/style\/guccis-criticize-house-of-gucci.html\n\n- Share full article\n- 271\n\nAdvertisement\n\n[SKIP ADVERTISEMENT](https:\/\/www.nytimes.com\/2021\/11\/30\/style\/guccis-criticize-house-of-gucci.html#after-top)\n\nSupported by\n\n[SKIP ADVERTISEMENT](https:\/\/www.nytimes.com\/2021\/11\/30\/style\/guccis-criticize-house-of-gucci.html#after-sponsor)\n\nUNBUTTONED\n\n# The Guccis Are Really Not Happy About ‘House of Gucci’\nWhen artistic license collides with reality, which one wins?\n\n- Share full article\n- 271\n\n![](https:\/\/static01.nyt.com\/images\/2021\/11\/29\/fashion\/29GUCCI-film-still\/29GUCCI-film-still-articleLarge.jpg?quality=75&auto=webp&disable=upscale)\n\nLady Gaga as Patrizia Reggiani in “House of Gucci.”Credit...MGM\n\n[![Vanessa Friedman](https:\/\/static01.nyt.com\/images\/2018\/06\/12\/multimedia\/vanessa-friedman\/vanessa-friedman-thumbLarge.png)](https:\/\/www.nytimes.com\/by\/vanessa-friedman)\n\nBy [Vanessa Friedman](https:\/\/www.nytimes.com\/by\/vanessa-friedman)\n\nPublished Nov. 30, 2021Updated Dec. 3, 2021\n\nThe fractious Gucci family, whose internecine power struggles famously helped it lose the company Guccio Gucci founded in 1921, has finally found common cause once again.\n\nThe reason for the family’s reunification: “[House of Gucci,](https:\/\/www.nytimes.com\/2021\/11\/23\/movies\/house-of-gucci-review.html)” the 24-carat camp drama framed in pigskin about the murder of the family scion Maurizio Gucci. The film, starring Lady Gaga as Patrizia Reggiani, the spurned wife who commissioned the hit, and Adam Driver as Maurizio, opened in the United States last week, bringing 10 members of the dynasty back together to protest what they believe is a distortion of history, the family name and the brand they made.\n\nThe descendants of Aldo Gucci, one of the three sons of Guccio, and the man who turned the Florentine leather brand into a global sensation (and who is played in the film by Al Pacino as a sort of rumpled, prosciutto-spewing American cartoon of a Mafioso) issued a statement, reading: “Although the film claims to tell the ‘true story’ of the family, the narrative is anything but accurate, depicting Aldo Gucci — president of the company for 30 years — and other members of the Gucci family who were the protagonists of well-documented events, as hooligans, ignorant and insensitive to the world around them.”\n\nIt went on: “Even more censurable is the baffling reconstruction of events that advocate leniency toward a woman who was definitively convicted as the instigator of Maurizio Gucci’s murder. To see her portrayed as a victim — not only in the film but also in statements by the cast — who is trying to survive in a male-dominated corporate culture, is an injustice and could not be further from the truth.”\n\nPublic relations representatives for the film said that neither the producers nor Ridley Scott, the director, could be reached to respond to the family’s statement. Lady Gaga has [acknowledged](https:\/\/www.vogue.co.uk\/arts-and-lifestyle\/article\/lady-gaga-interview) that she did not engage with Ms. Reggiani (who has expressed her displeasure about not being consulted), or even read the book on which the film was based, the better to create her character from her own imagination, she has said.\n\nIn response to earlier criticisms from [Patrizia Gucci](https:\/\/apnews.com\/article\/gucci-heirs-worry-depiction-ridley-scott-film-929388bfb17bede59522c188370b75fd) (a daughter of Paolo Gucci, played by Jared Leto as a dolt of a designer in a bad corduroy suit) that the filmmakers were exploiting a family tragedy for Hollywood profit, Mr. Scott said on the BBC “[Today” show](https:\/\/deadline.com\/2021\/11\/ridley-scott-hits-back-at-gucci-family-criticism-reveals-napoleon-biopic-kitbag-filming-date-1234878689\/): “I don’t engage with that. You have to remember that one Gucci was murdered and another went to jail for tax evasion, so you can’t be talking to me about making a profit. As soon as you do that, you become part of the public domain.”\n\nThe suggestion being: Once you’re in the public domain, your story is not your own. An assumption presumably exacerbated if your ancestors have deliberately transformed your family name into a brand that they then sold to the world. It’s kind of like saying they swapped the family soul for fame and filthy lucre, so tough luck.\n\nIt’s also why the family decided to take the fight public. It may seem like a squabble in a green-and-red horse-bit-tinged teacup, but at a time when the distinction between what is fact and what is fiction has become evermore porous, when the concept of so-called alternative facts has became a part of the general discourse, and when viewers tend to believe whatever they see onscreen (big or little), it has resonance that goes beyond the box office.\n\n## Editors’ Picks\n[![](https:\/\/static01.nyt.com\/images\/2026\/03\/08\/realestate\/07re-ASK-ILLO\/07re-ASK-ILLO-thumbLarge.jpg)How to Make Your Co-op Fix What’s Broken](https:\/\/www.nytimes.com\/2026\/03\/07\/realestate\/problem-co-op-boards.html)\n\n[![](https:\/\/static01.nyt.com\/images\/2026\/03\/08\/arts\/08CUL-SNL-RECAP\/08CUL-SNL-RECAP-thumbLarge.png)On ‘S.N.L.’, Pete Hegseth Says Iran ‘Isn’t a War, It’s a Situationship’](https:\/\/www.nytimes.com\/2026\/03\/08\/arts\/television\/snl-ryan-gosling-harry-styles-iran-war.html)\n\n[![](https:\/\/static01.nyt.com\/images\/2026\/03\/03\/travel\/00trav-rivercruise-illo-sub\/00trav-rivercruise-illo-sub-thumbLarge.jpg)How to Prepare for Your First River Cruise](https:\/\/www.nytimes.com\/2026\/03\/09\/travel\/how-to-prepare-for-your-first-river-cruise.html)\n\nAdvertisement\n\n[SKIP ADVERTISEMENT](https:\/\/www.nytimes.com\/2021\/11\/30\/style\/guccis-criticize-house-of-gucci.html#after-pp_edpick)\n\nImage\n\n![](https:\/\/static01.nyt.com\/images\/2021\/12\/05\/fashion\/29GUCCI-Patrizia-Reggiani\/merlin_198475107_ba30002f-d2aa-443c-9df7-c0007fe531e6-articleLarge.jpg?quality=75&auto=webp&disable=upscale)\n\nPatrizia Reggiani in the 1980s.Credit...Ipa\/Shutterstock\n\n## True or Not True?\nSure, the Guccis are interested in perpetuating the aura of their own taste (even though they no longer have a financial relationship with Gucci the brand, they are deeply attached to the name). But that doesn’t mean their concerns are without merit. As Lady Gaga said in a British Vogue article, “I did my very best to play the truth.” But whose truth?\n\nNot, the Gucci family says, theirs. According to Patricia Gucci, the family began discussing the possibility of a joint statement a month or so ago, after the breathless reaction on social media to early trailers suggested there would be a wholesale embrace of Mr. Scott’s version and after earlier attempts by the family to contact the film’s producers before the movie was even in production were never returned.\n\nOn one level, this is not a surprise. For as long as there have been biopics, the people on whose lives they have been based (or the people with a stake in the lives on which they have been based) have often felt shortchanged or otherwise misrepresented by the result.\n\nMichael Oher was not happy with “The Blind Side,” nor Mark Zuckerberg with “The Social Network.” And there’s an entire industry in complaining about what “The Crown” gets wrong. “Based on a true story” is effectively creative code for “some artistic license involved,” which is itself shorthand for sacrificing fact to dramatic imperative and story arc.\n\nImage\n\n![](https:\/\/static01.nyt.com\/images\/2021\/12\/05\/fashion\/30GUCCI-still-2\/merlin_198110541_dbadb1ad-c3ef-40f7-b8b0-3144c573f3a3-articleLarge.jpg?quality=75&auto=webp&disable=upscale)\n\nLady Gaga as Patrizia Reggiani and Adam Driver as Maurizio Gucci.Credit...MGM\n\nAs it happens, “Gucci” takes the caveats a step further, with the opening disclaimer “inspired by a true story,” a signal that the filmmakers may have taken more liberties than usual. (Another signal: All the characters speak English in various versions of fake Italian accents, a much-derided choice that makes no sense.)\n\nYet the film is not presented as magical realism, nor even overt satire. It is based on the nonfiction book by Sara Gay Forden, “The House of Gucci: A True Story of Murder, Madness, Glamour, and Greed,” and none of the names have been changed, creating an expectation that what the viewer is seeing is at least a plausible re-creation of a historical truth. There has been much discussion of the attention to period detail when it comes to the [wardrobes](https:\/\/www.nytimes.com\/2021\/09\/24\/fashion\/fashion-janty-yates-house-of-gucci.html) — so ’70s and ’80s fabulous! Even some from the actual Gucci archive itself\\!\n\nBut a cursory and noncomprehensive list of some of the changes the filmmakers made includes: the erasure of three of Aldo’s four children (who were also in the family business); the deletion of Dawn Mello, a key figure in the Gucci renaissance under Maurizio and his outside partner, Investcorp (and a female power player); the collapsing of various outside lawyers and bankers into the single figure of Domenico De Sole, who has been turned into a Tom Hagen figure à la “The Godfather” who not only does professional dirty work but also personal; and the fast-forwarding of Tom Ford’s breakthrough collection to associate it with Maurizio’s leadership (not true; nor did it involve men or Gucci G-strings — those came years later).\n\nSuch reduction can often be excused in the name of art and story streamlining: plot details that matter only to insiders. And the actual Gucci saga, with its competing boardroom power plays, was convoluted at the best of times. At a time of limited attention spans, you can understand why it seemed better left on the cutting room floor.\n\nExcept that there is also another element that has also been elided in the film: the reason any of it mattered in the first place.\n\nImage\n\n![](https:\/\/static01.nyt.com\/images\/2021\/12\/05\/fashion\/29GUCCI-maurizio\/merlin_198475110_2cfddfdd-addc-451e-ad82-f325fbfa378c-articleLarge.jpg?quality=75&auto=webp&disable=upscale)\n\nMaurizio Gucci in the 1980s.Credit... Ipa\/Shutterstock\n\n## Gucci Gucci Gucci\nFor that you have to go back to the myth of elegance, craft and a bit of flash encapsulated by the word “Gucci” that made the products — the shoes and bags and clothes — desirable as markers of both aspiration and achievement. And that was created largely by the exact characters the film turns into caricatures, embracing the showy trappings of success — furs! Ferraris! — to gussy up a rotten core. They may be entertaining to watch (Jared Leto and Lady Gaga may even get Oscar nominations out of it), but as tastemakers they are impossible to believe.\n\nBy most accounts, Aldo and even Paolo, not simply Maurizio and Rodolfo, were magnetic figures whose carriage reflected the soignée substance of what they were selling — and, indeed, helped sell it.\n\nIn [a recent review](https:\/\/airmail.news\/issues\/2021-11-27\/tom-ford-does-gucci?utm_medium=email&utm_source=blast&utm_campaign=standard-2021-11-26) of the film for Air Mail, Tom Ford, who had a front-row seat to the whole story (though not the precise one depicted in the film), wrote: “In real life, none of it was camp. It was at times absurd, but ultimately it was tragic.” The lack of nuance in the movie made him, he wrote, “deeply sad.” In a phone call, Domenico De Sole said much the same.\n\nIn their statement the family said it reserves the right to “protect its name, image, and dignity,” which sounds like yet another Gucci case might be the offing. But Patricia Gucci (who is currently embroiled in [a different lawsui](https:\/\/www.nytimes.com\/2020\/09\/09\/style\/gucci-family-lawsuit.html)t, in which one of her daughters is suing her ex-husband for childhood sexual abuse, and she is named as a co-defendant) said there are no such plans; they are leaving it to the court of public opinion for now.\n\nWill it make a difference? It’s easy to dismiss the complaints as the whining of sore losers who are obsessed with image over all. But it’s exactly that image that formed a totem of identity that is part of the story of how we got to here: how so-called craft became a value unto itself and fashion vaulted from being a bunch of small family-run businesses into a global part of pop culture.\n\nAnd that in turn is part of what made the movie itself worth making, because that’s why a corporate and family crisis exploded into closets around the world. It’s part of why, since the film’s release, searches for Gucci products have gone into the stratosphere; according to the global fashion marketplace [lovethesales.com](http:\/\/lovethesales.com\/), up 257 percent for Gucci bags alone.\n\nTo miss that seems not so much like creating art and more like fake news. And in that case, no one really wins.\n\n[Vanessa Friedman](https:\/\/www.nytimes.com\/by\/vanessa-friedman) is The Times's fashion director and chief fashion critic. She was previously the fashion editor of the Financial Times.\n\nA version of this article appears in print on Dec. 5, 2021, Section ST, Page 12 of the New York edition with the headline: The Guccis Fight to Protect the Family Name. [Order Reprints](https:\/\/nytimes.wrightsmedia.com\/) \\| [Today’s Paper](https:\/\/www.nytimes.com\/section\/todayspaper) \\| [Subscribe](https:\/\/www.nytimes.com\/subscriptions\/Multiproduct\/lp8HYKU.html?campaignId=48JQY)\n\nSee more on: [Gucci](https:\/\/www.nytimes.com\/topic\/gucci), [Lady Gaga](https:\/\/www.nytimes.com\/topic\/lady-gaga), [Ridley Scott](https:\/\/www.nytimes.com\/topic\/person\/ridley-scott)\n\nRead 271 comments\n\n- Share full article\n- 271\n\n## Related Content\n### [Unbuttoned](https:\/\/www.nytimes.com\/column\/unbuttoned)\nVanessa Friedman looks at fashion through the lens of politics, business and technology.\n\n- [In Praise of Adele and the Long Black Dress](https:\/\/www.nytimes.com\/2024\/11\/21\/style\/adele-vegas-last-weekend-black-dresses.html)\n  \n  ![Adele performing onstage at Caesars Palace in January in a dress by Dolce & Gabbana.](https:\/\/static01.nyt.com\/images\/2024\/11\/24\/multimedia\/21ADELE-VEGAS-01-kftv\/21ADELE-VEGAS-01-kftv-thumbLarge.jpg?quality=75&auto=webp&disable=upscale)\n  \n  Kevin Mazur\/Getty Images\n- [How Hedi Slimane Changed Fashion](https:\/\/www.nytimes.com\/2024\/10\/06\/style\/hedi-slimane-celine-chanel.html)\n  \n  ![Hedi Slimane in 2003.](https:\/\/static01.nyt.com\/images\/2024\/10\/10\/fashion\/hedi-chanel-portrait-zqch\/hedi-chanel-portrait-zqch-thumbLarge.jpg?quality=75&auto=webp&disable=upscale)\n  \n  Max Lautenschlaeger\/Visum, Redux\n- [Kamala Harris Is Dressing to Be President](https:\/\/www.nytimes.com\/2024\/07\/30\/style\/kamala-harris-presidential-style.html)\n  \n  Photographs by Erin Schaff\/The New York Times; Kenny Holston\/The New York Times (second from right)\n\n### [More in Style](https:\/\/www.nytimes.com\/section\/style)\n- [He Grew Up Watching Her on TV. 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Service](https:\/\/help.nytimes.com\/hc\/en-us\/articles\/115014893428-Terms-of-Service)\n- [Terms of Sale](https:\/\/help.nytimes.com\/hc\/en-us\/articles\/115014893968-Terms-of-Sale)\n- [Site Map](https:\/\/www.nytimes.com\/sitemap\/)\n- [Canada](https:\/\/www.nytimes.com\/ca\/)\n- [International](https:\/\/www.nytimes.com\/international\/)\n- [Help](https:\/\/help.nytimes.com\/hc\/en-us)\n- [Subscriptions](https:\/\/www.nytimes.com\/subscription?campaignId=37WXW)","attrs_readable_markdown":"Advertisement\n\n[SKIP ADVERTISEMENT](https:\/\/www.nytimes.com\/2021\/11\/30\/style\/guccis-criticize-house-of-gucci.html#after-top)\n\nUNBUTTONED\n\nWhen artistic license collides with reality, which one wins?\n\n![](https:\/\/static01.nyt.com\/images\/2021\/11\/29\/fashion\/29GUCCI-film-still\/29GUCCI-film-still-articleLarge.jpg?quality=75&auto=webp&disable=upscale)\n\nLady Gaga as Patrizia Reggiani in “House of Gucci.”Credit...MGM\n\nPublished Nov. 30, 2021Updated Dec. 3, 2021\n\nThe fractious Gucci family, whose internecine power struggles famously helped it lose the company Guccio Gucci founded in 1921, has finally found common cause once again.\n\nThe reason for the family’s reunification: “[House of Gucci,](https:\/\/www.nytimes.com\/2021\/11\/23\/movies\/house-of-gucci-review.html)” the 24-carat camp drama framed in pigskin about the murder of the family scion Maurizio Gucci. The film, starring Lady Gaga as Patrizia Reggiani, the spurned wife who commissioned the hit, and Adam Driver as Maurizio, opened in the United States last week, bringing 10 members of the dynasty back together to protest what they believe is a distortion of history, the family name and the brand they made.\n\nThe descendants of Aldo Gucci, one of the three sons of Guccio, and the man who turned the Florentine leather brand into a global sensation (and who is played in the film by Al Pacino as a sort of rumpled, prosciutto-spewing American cartoon of a Mafioso) issued a statement, reading: “Although the film claims to tell the ‘true story’ of the family, the narrative is anything but accurate, depicting Aldo Gucci — president of the company for 30 years — and other members of the Gucci family who were the protagonists of well-documented events, as hooligans, ignorant and insensitive to the world around them.”\n\nIt went on: “Even more censurable is the baffling reconstruction of events that advocate leniency toward a woman who was definitively convicted as the instigator of Maurizio Gucci’s murder. To see her portrayed as a victim — not only in the film but also in statements by the cast — who is trying to survive in a male-dominated corporate culture, is an injustice and could not be further from the truth.”\n\nPublic relations representatives for the film said that neither the producers nor Ridley Scott, the director, could be reached to respond to the family’s statement. Lady Gaga has [acknowledged](https:\/\/www.vogue.co.uk\/arts-and-lifestyle\/article\/lady-gaga-interview) that she did not engage with Ms. Reggiani (who has expressed her displeasure about not being consulted), or even read the book on which the film was based, the better to create her character from her own imagination, she has said.\n\nIn response to earlier criticisms from [Patrizia Gucci](https:\/\/apnews.com\/article\/gucci-heirs-worry-depiction-ridley-scott-film-929388bfb17bede59522c188370b75fd) (a daughter of Paolo Gucci, played by Jared Leto as a dolt of a designer in a bad corduroy suit) that the filmmakers were exploiting a family tragedy for Hollywood profit, Mr. Scott said on the BBC “[Today” show](https:\/\/deadline.com\/2021\/11\/ridley-scott-hits-back-at-gucci-family-criticism-reveals-napoleon-biopic-kitbag-filming-date-1234878689\/): “I don’t engage with that. You have to remember that one Gucci was murdered and another went to jail for tax evasion, so you can’t be talking to me about making a profit. As soon as you do that, you become part of the public domain.”\n\nThe suggestion being: Once you’re in the public domain, your story is not your own. An assumption presumably exacerbated if your ancestors have deliberately transformed your family name into a brand that they then sold to the world. It’s kind of like saying they swapped the family soul for fame and filthy lucre, so tough luck.\n\nIt’s also why the family decided to take the fight public. It may seem like a squabble in a green-and-red horse-bit-tinged teacup, but at a time when the distinction between what is fact and what is fiction has become evermore porous, when the concept of so-called alternative facts has became a part of the general discourse, and when viewers tend to believe whatever they see onscreen (big or little), it has resonance that goes beyond the box office.\n\nImage\n\n![](https:\/\/static01.nyt.com\/images\/2021\/12\/05\/fashion\/29GUCCI-Patrizia-Reggiani\/merlin_198475107_ba30002f-d2aa-443c-9df7-c0007fe531e6-articleLarge.jpg?quality=75&auto=webp&disable=upscale)\n\nPatrizia Reggiani in the 1980s.Credit...Ipa\/Shutterstock\n\n## True or Not True?\nSure, the Guccis are interested in perpetuating the aura of their own taste (even though they no longer have a financial relationship with Gucci the brand, they are deeply attached to the name). But that doesn’t mean their concerns are without merit. As Lady Gaga said in a British Vogue article, “I did my very best to play the truth.” But whose truth?\n\nNot, the Gucci family says, theirs. According to Patricia Gucci, the family began discussing the possibility of a joint statement a month or so ago, after the breathless reaction on social media to early trailers suggested there would be a wholesale embrace of Mr. Scott’s version and after earlier attempts by the family to contact the film’s producers before the movie was even in production were never returned.\n\nOn one level, this is not a surprise. For as long as there have been biopics, the people on whose lives they have been based (or the people with a stake in the lives on which they have been based) have often felt shortchanged or otherwise misrepresented by the result.\n\nMichael Oher was not happy with “The Blind Side,” nor Mark Zuckerberg with “The Social Network.” And there’s an entire industry in complaining about what “The Crown” gets wrong. “Based on a true story” is effectively creative code for “some artistic license involved,” which is itself shorthand for sacrificing fact to dramatic imperative and story arc.\n\nImage\n\n![](https:\/\/static01.nyt.com\/images\/2021\/12\/05\/fashion\/30GUCCI-still-2\/merlin_198110541_dbadb1ad-c3ef-40f7-b8b0-3144c573f3a3-articleLarge.jpg?quality=75&auto=webp&disable=upscale)\n\nLady Gaga as Patrizia Reggiani and Adam Driver as Maurizio Gucci.Credit...MGM\n\nAs it happens, “Gucci” takes the caveats a step further, with the opening disclaimer “inspired by a true story,” a signal that the filmmakers may have taken more liberties than usual. (Another signal: All the characters speak English in various versions of fake Italian accents, a much-derided choice that makes no sense.)\n\nYet the film is not presented as magical realism, nor even overt satire. It is based on the nonfiction book by Sara Gay Forden, “The House of Gucci: A True Story of Murder, Madness, Glamour, and Greed,” and none of the names have been changed, creating an expectation that what the viewer is seeing is at least a plausible re-creation of a historical truth. There has been much discussion of the attention to period detail when it comes to the [wardrobes](https:\/\/www.nytimes.com\/2021\/09\/24\/fashion\/fashion-janty-yates-house-of-gucci.html) — so ’70s and ’80s fabulous! Even some from the actual Gucci archive itself\\!\n\nBut a cursory and noncomprehensive list of some of the changes the filmmakers made includes: the erasure of three of Aldo’s four children (who were also in the family business); the deletion of Dawn Mello, a key figure in the Gucci renaissance under Maurizio and his outside partner, Investcorp (and a female power player); the collapsing of various outside lawyers and bankers into the single figure of Domenico De Sole, who has been turned into a Tom Hagen figure à la “The Godfather” who not only does professional dirty work but also personal; and the fast-forwarding of Tom Ford’s breakthrough collection to associate it with Maurizio’s leadership (not true; nor did it involve men or Gucci G-strings — those came years later).\n\nSuch reduction can often be excused in the name of art and story streamlining: plot details that matter only to insiders. And the actual Gucci saga, with its competing boardroom power plays, was convoluted at the best of times. At a time of limited attention spans, you can understand why it seemed better left on the cutting room floor.\n\nExcept that there is also another element that has also been elided in the film: the reason any of it mattered in the first place.\n\nImage\n\n![](https:\/\/static01.nyt.com\/images\/2021\/12\/05\/fashion\/29GUCCI-maurizio\/merlin_198475110_2cfddfdd-addc-451e-ad82-f325fbfa378c-articleLarge.jpg?quality=75&auto=webp&disable=upscale)\n\nMaurizio Gucci in the 1980s.Credit... Ipa\/Shutterstock\n\n## Gucci Gucci Gucci\nFor that you have to go back to the myth of elegance, craft and a bit of flash encapsulated by the word “Gucci” that made the products — the shoes and bags and clothes — desirable as markers of both aspiration and achievement. And that was created largely by the exact characters the film turns into caricatures, embracing the showy trappings of success — furs! Ferraris! — to gussy up a rotten core. They may be entertaining to watch (Jared Leto and Lady Gaga may even get Oscar nominations out of it), but as tastemakers they are impossible to believe.\n\nBy most accounts, Aldo and even Paolo, not simply Maurizio and Rodolfo, were magnetic figures whose carriage reflected the soignée substance of what they were selling — and, indeed, helped sell it.\n\nIn [a recent review](https:\/\/airmail.news\/issues\/2021-11-27\/tom-ford-does-gucci?utm_medium=email&utm_source=blast&utm_campaign=standard-2021-11-26) of the film for Air Mail, Tom Ford, who had a front-row seat to the whole story (though not the precise one depicted in the film), wrote: “In real life, none of it was camp. It was at times absurd, but ultimately it was tragic.” The lack of nuance in the movie made him, he wrote, “deeply sad.” In a phone call, Domenico De Sole said much the same.\n\nIn their statement the family said it reserves the right to “protect its name, image, and dignity,” which sounds like yet another Gucci case might be the offing. But Patricia Gucci (who is currently embroiled in [a different lawsui](https:\/\/www.nytimes.com\/2020\/09\/09\/style\/gucci-family-lawsuit.html)t, in which one of her daughters is suing her ex-husband for childhood sexual abuse, and she is named as a co-defendant) said there are no such plans; they are leaving it to the court of public opinion for now.\n\nWill it make a difference? It’s easy to dismiss the complaints as the whining of sore losers who are obsessed with image over all. But it’s exactly that image that formed a totem of identity that is part of the story of how we got to here: how so-called craft became a value unto itself and fashion vaulted from being a bunch of small family-run businesses into a global part of pop culture.\n\nAnd that in turn is part of what made the movie itself worth making, because that’s why a corporate and family crisis exploded into closets around the world. It’s part of why, since the film’s release, searches for Gucci products have gone into the stratosphere; according to the global fashion marketplace [lovethesales.com](http:\/\/lovethesales.com\/), up 257 percent for Gucci bags alone.\n\nTo miss that seems not so much like creating art and more like fake news. And in that case, no one really wins.\n\n[Vanessa Friedman](https:\/\/www.nytimes.com\/by\/vanessa-friedman) is The Times's fashion director and chief fashion critic. She was previously the fashion editor of the Financial Times.\n\nA version of this article appears in print on Dec. 5, 2021, Section ST, Page 12 of the New York edition with the headline: The Guccis Fight to Protect the Family Name. [Order Reprints](https:\/\/nytimes.wrightsmedia.com\/) \\| [Today’s Paper](https:\/\/www.nytimes.com\/section\/todayspaper) \\| [Subscribe](https:\/\/www.nytimes.com\/subscriptions\/Multiproduct\/lp8HYKU.html?campaignId=48JQY)\n\n## Related Content\n[Unbuttoned](https:\/\/www.nytimes.com\/column\/unbuttoned)\n\nVanessa Friedman looks at fashion through the lens of politics, business and technology.\n\n- ![Adele performing onstage at Caesars Palace in January in a dress by Dolce & Gabbana.](https:\/\/static01.nyt.com\/images\/2024\/11\/24\/multimedia\/21ADELE-VEGAS-01-kftv\/21ADELE-VEGAS-01-kftv-thumbLarge.jpg?quality=75&auto=webp&disable=upscale)\n  \n  Kevin Mazur\/Getty Images\n- ![Hedi Slimane in 2003.](https:\/\/static01.nyt.com\/images\/2024\/10\/10\/fashion\/hedi-chanel-portrait-zqch\/hedi-chanel-portrait-zqch-thumbLarge.jpg?quality=75&auto=webp&disable=upscale)\n  \n  Max Lautenschlaeger\/Visum, Redux\n- Photographs by Erin Schaff\/The New York Times; Kenny Holston\/The New York Times (second from right)\n\n[More in Style](https:\/\/www.nytimes.com\/section\/style)\n\n- ![](https:\/\/static01.nyt.com\/images\/2026\/03\/08\/style\/00MINI-HYLAND-THALMAN\/00MINI-HYLAND-THALMAN-square640.jpg?quality=75&auto=webp&disable=upscale)\n  \n  Aislinn Rose Photography\n- ![Carolyn Bessette Kennedy and John F. Kennedy Jr. at their private wedding ceremony on Sept. 21, 1996. Her understated slip dress would go on to become one of the most influential bridal looks of the era — and now.](https:\/\/static01.nyt.com\/images\/2026\/03\/06\/multimedia\/06ST-CAROLYN-BESSETTE-WED-STYLE-top-mvcq\/06ST-CAROLYN-BESSETTE-WED-STYLE-top-mvcq-square640.jpg?quality=75&auto=webp&disable=upscale)\n  \n  Denis Reggie\n- ![President Emmanuel Macron bestowing the French Legion of Honor medal on Stella McCartney.](https:\/\/static01.nyt.com\/images\/2026\/03\/07\/multimedia\/07ST-MCCARTNEY--01-ghmt\/07ST-MCCARTNEY--01-ghmt-square640.jpg?quality=75&auto=webp&disable=upscale)\n  \n  Matteo Prandoni\/BFA.com\n- ![](https:\/\/static01.nyt.com\/images\/2026\/03\/08\/style\/00MINI-Ross-Koeppel\/00MINI-Ross-Koeppel-square640.jpg?quality=75&auto=webp&disable=upscale)\n  \n  Nathan Smith\n\nEditors’ Picks\n\n- ![](https:\/\/static01.nyt.com\/images\/2026\/03\/14\/magazine\/14mag-ethicist\/14mag-ethicist-square640.jpg?quality=75&auto=webp&disable=upscale)\n  \n  Illustration by Tomi Um\n- ![Timothée Chalamet at a Knicks game in 2019. He said this week, “I don’t want to be working in ballet or opera, or, you know, things where it’s like, ‘Hey, keep this thing alive.’”](https:\/\/static01.nyt.com\/images\/2026\/03\/09\/multimedia\/06cul-chalamet-notebook-pmjc\/06cul-chalamet-notebook-pmjc-square640.jpg?quality=75&auto=webp&disable=upscale)\n  \n  James Devaney\/Getty Images\n\nTrending in The Times\n\n- ![The California Attorney General’s Office said that 14 people arranged tax-free sales of vehicles, including this \\$1.5 million Porsche 918 Spyder, by making the purchases in Montana. ](https:\/\/static01.nyt.com\/images\/2026\/03\/08\/multimedia\/08xp-cars1\/08xp-cars-03-square640.jpg?quality=75&auto=webp&disable=upscale&width=350)\n  \n  Office of the Attorney General of California\n- ![Nearly two dozen people were rescued after they were stranded on breakaway ice by Georgian Bay, north of Toronto, on Sunday.](https:\/\/static01.nyt.com\/images\/2026\/03\/09\/multimedia\/09xp-fishing1\/09xp-fishing-square640.jpg?quality=75&auto=webp&disable=upscale&width=350)\n  \n  Ontario Provincial Police\n- ![Bob Krinsky, 65, moved to a two-bedroom apartment with sweeping, 47th-floor views of the Manhattan skyline to be closer to his two grown sons after his 30-year marriage ended. ](https:\/\/static01.nyt.com\/images\/2026\/03\/07\/multimedia\/07met-older-new-yorkers-vhqw\/07met-older-new-yorkers-vhqw-square640.jpg?quality=75&auto=webp&disable=upscale&width=350)\n- ![](https:\/\/static01.nyt.com\/images\/2026\/03\/09\/well\/09WELL-HEALTHY-CABBAGE1\/09WELL-HEALTHY-CABBAGE1-square640.jpg?quality=75&auto=webp&disable=upscale&width=350)\n  \n  Suzanne Saroff\n- ![Judy Garland around 1941.](https:\/\/static01.nyt.com\/images\/2026\/03\/06\/obituaries\/06WHM-Garland-Obit-01\/06WHM-Garland-Obit-01-square640.jpg?quality=75&auto=webp&disable=upscale&width=350)\n  \n  MPTV Images, via Reuters Connect\n- ![Ohio State University president Walter Carter Jr. at Ohio Stadium in Columbus last year.](https:\/\/static01.nyt.com\/images\/2026\/03\/09\/multimedia\/09nat-osu-lqzt\/09nat-osu-lqzt-square640.jpg?quality=75&auto=webp&disable=upscale&width=350)\n  \n  Jason Mowry\/Getty Images\n- ![Kristi Noem on Thursday shortly after her firing was announced. President Trump said he would replace Ms. Noem with Senator Markwayne Mullin.](https:\/\/static01.nyt.com\/images\/2026\/03\/06\/multimedia\/06DAILY-noem-alt-mftg\/06DAILY-noem-alt-mftg-square640-v2.jpg?quality=75&auto=webp&disable=upscale&width=350)\n  \n  Nicole Hester\/USA Today Network, via Reuters\n- ![](https:\/\/static01.nyt.com\/images\/2026\/03\/03\/travel\/00trav-rivercruise-illo-sub\/00trav-rivercruise-illo-sub-square640.jpg?quality=75&auto=webp&disable=upscale&width=350)\n  \n  Philip Lindeman\n- ![](https:\/\/static01.nyt.com\/images\/2026\/03\/05\/podcasts\/05cannonball-reality-check\/05cannonball-reality-check-square640-v4.png?quality=75&auto=webp&disable=upscale&width=350)\n  \n  Photo Illustration by The New York Times; Photo: Scott Gries\/Getty Images\n- ![An image with multiple exposures shows Nacera Belaza’s “La Nuée,” or “The Swarm,” at New York Live Arts.](https:\/\/static01.nyt.com\/images\/2026\/03\/09\/multimedia\/09cul-waves-1-bqmt\/09cul-waves-1-bqmt-square640.jpg?quality=75&auto=webp&disable=upscale&width=350)\n  \n  Maria Baranova\n\nAdvertisement\n\n[SKIP ADVERTISEMENT](https:\/\/www.nytimes.com\/2021\/11\/30\/style\/guccis-criticize-house-of-gucci.html#after-bottom)","meta_canonical":null}

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Boilerpipe Text	Advertisement SKIP ADVERTISEMENT UNBUTTONED When artistic license collides with reality, which one wins? Lady Gaga as Patrizia Reggiani in “House of Gucci.” Credit... MGM Published Nov. 30, 2021 Updated Dec. 3, 2021 The fractious Gucci family, whose internecine power struggles famously helped it lose the company Guccio Gucci founded in 1921, has finally found common cause once again. The reason for the family’s reunification: “ House of Gucci, ” the 24-carat camp drama framed in pigskin about the murder of the family scion Maurizio Gucci. The film, starring Lady Gaga as Patrizia Reggiani, the spurned wife who commissioned the hit, and Adam Driver as Maurizio, opened in the United States last week, bringing 10 members of the dynasty back together to protest what they believe is a distortion of history, the family name and the brand they made. The descendants of Aldo Gucci, one of the three sons of Guccio, and the man who turned the Florentine leather brand into a global sensation (and who is played in the film by Al Pacino as a sort of rumpled, prosciutto-spewing American cartoon of a Mafioso) issued a statement, reading: “Although the film claims to tell the ‘true story’ of the family, the narrative is anything but accurate, depicting Aldo Gucci — president of the company for 30 years — and other members of the Gucci family who were the protagonists of well-documented events, as hooligans, ignorant and insensitive to the world around them.” It went on: “Even more censurable is the baffling reconstruction of events that advocate leniency toward a woman who was definitively convicted as the instigator of Maurizio Gucci’s murder. To see her portrayed as a victim — not only in the film but also in statements by the cast — who is trying to survive in a male-dominated corporate culture, is an injustice and could not be further from the truth.” Public relations representatives for the film said that neither the producers nor Ridley Scott, the director, could be reached to respond to the family’s statement. Lady Gaga has acknowledged that she did not engage with Ms. Reggiani (who has expressed her displeasure about not being consulted), or even read the book on which the film was based, the better to create her character from her own imagination, she has said. In response to earlier criticisms from Patrizia Gucci (a daughter of Paolo Gucci, played by Jared Leto as a dolt of a designer in a bad corduroy suit) that the filmmakers were exploiting a family tragedy for Hollywood profit, Mr. Scott said on the BBC “ Today” show : “I don’t engage with that. You have to remember that one Gucci was murdered and another went to jail for tax evasion, so you can’t be talking to me about making a profit. As soon as you do that, you become part of the public domain.” The suggestion being: Once you’re in the public domain, your story is not your own. An assumption presumably exacerbated if your ancestors have deliberately transformed your family name into a brand that they then sold to the world. It’s kind of like saying they swapped the family soul for fame and filthy lucre, so tough luck. It’s also why the family decided to take the fight public. It may seem like a squabble in a green-and-red horse-bit-tinged teacup, but at a time when the distinction between what is fact and what is fiction has become evermore porous, when the concept of so-called alternative facts has became a part of the general discourse, and when viewers tend to believe whatever they see onscreen (big or little), it has resonance that goes beyond the box office. Image Patrizia Reggiani in the 1980s. Credit... Ipa/Shutterstock True or Not True? Sure, the Guccis are interested in perpetuating the aura of their own taste (even though they no longer have a financial relationship with Gucci the brand, they are deeply attached to the name). But that doesn’t mean their concerns are without merit. As Lady Gaga said in a British Vogue article, “I did my very best to play the truth.” But whose truth? Not, the Gucci family says, theirs. According to Patricia Gucci, the family began discussing the possibility of a joint statement a month or so ago, after the breathless reaction on social media to early trailers suggested there would be a wholesale embrace of Mr. Scott’s version and after earlier attempts by the family to contact the film’s producers before the movie was even in production were never returned. On one level, this is not a surprise. For as long as there have been biopics, the people on whose lives they have been based (or the people with a stake in the lives on which they have been based) have often felt shortchanged or otherwise misrepresented by the result. Michael Oher was not happy with “The Blind Side,” nor Mark Zuckerberg with “The Social Network.” And there’s an entire industry in complaining about what “The Crown” gets wrong. “Based on a true story” is effectively creative code for “some artistic license involved,” which is itself shorthand for sacrificing fact to dramatic imperative and story arc. Image Lady Gaga as Patrizia Reggiani and Adam Driver as Maurizio Gucci. Credit... MGM As it happens, “Gucci” takes the caveats a step further, with the opening disclaimer “inspired by a true story,” a signal that the filmmakers may have taken more liberties than usual. (Another signal: All the characters speak English in various versions of fake Italian accents, a much-derided choice that makes no sense.) Yet the film is not presented as magical realism, nor even overt satire. It is based on the nonfiction book by Sara Gay Forden, “The House of Gucci: A True Story of Murder, Madness, Glamour, and Greed,” and none of the names have been changed, creating an expectation that what the viewer is seeing is at least a plausible re-creation of a historical truth. There has been much discussion of the attention to period detail when it comes to the wardrobes — so ’70s and ’80s fabulous! Even some from the actual Gucci archive itself! But a cursory and noncomprehensive list of some of the changes the filmmakers made includes: the erasure of three of Aldo’s four children (who were also in the family business); the deletion of Dawn Mello, a key figure in the Gucci renaissance under Maurizio and his outside partner, Investcorp (and a female power player); the collapsing of various outside lawyers and bankers into the single figure of Domenico De Sole, who has been turned into a Tom Hagen figure à la “The Godfather” who not only does professional dirty work but also personal; and the fast-forwarding of Tom Ford’s breakthrough collection to associate it with Maurizio’s leadership (not true; nor did it involve men or Gucci G-strings — those came years later). Such reduction can often be excused in the name of art and story streamlining: plot details that matter only to insiders. And the actual Gucci saga, with its competing boardroom power plays, was convoluted at the best of times. At a time of limited attention spans, you can understand why it seemed better left on the cutting room floor. Except that there is also another element that has also been elided in the film: the reason any of it mattered in the first place. Image Maurizio Gucci in the 1980s. Credit... Ipa/Shutterstock Gucci Gucci Gucci For that you have to go back to the myth of elegance, craft and a bit of flash encapsulated by the word “Gucci” that made the products — the shoes and bags and clothes — desirable as markers of both aspiration and achievement. And that was created largely by the exact characters the film turns into caricatures, embracing the showy trappings of success — furs! Ferraris! — to gussy up a rotten core. They may be entertaining to watch (Jared Leto and Lady Gaga may even get Oscar nominations out of it), but as tastemakers they are impossible to believe. By most accounts, Aldo and even Paolo, not simply Maurizio and Rodolfo, were magnetic figures whose carriage reflected the soignée substance of what they were selling — and, indeed, helped sell it. In a recent review of the film for Air Mail, Tom Ford, who had a front-row seat to the whole story (though not the precise one depicted in the film), wrote: “In real life, none of it was camp. It was at times absurd, but ultimately it was tragic.” The lack of nuance in the movie made him, he wrote, “deeply sad.” In a phone call, Domenico De Sole said much the same. In their statement the family said it reserves the right to “protect its name, image, and dignity,” which sounds like yet another Gucci case might be the offing. But Patricia Gucci (who is currently embroiled in a different lawsui t, in which one of her daughters is suing her ex-husband for childhood sexual abuse, and she is named as a co-defendant) said there are no such plans; they are leaving it to the court of public opinion for now. Will it make a difference? It’s easy to dismiss the complaints as the whining of sore losers who are obsessed with image over all. But it’s exactly that image that formed a totem of identity that is part of the story of how we got to here: how so-called craft became a value unto itself and fashion vaulted from being a bunch of small family-run businesses into a global part of pop culture. And that in turn is part of what made the movie itself worth making, because that’s why a corporate and family crisis exploded into closets around the world. It’s part of why, since the film’s release, searches for Gucci products have gone into the stratosphere; according to the global fashion marketplace lovethesales.com , up 257 percent for Gucci bags alone. To miss that seems not so much like creating art and more like fake news. And in that case, no one really wins. Vanessa Friedman is The Times's fashion director and chief fashion critic. She was previously the fashion editor of the Financial Times. A version of this article appears in print on Dec. 5, 2021 , Section ST, Page 12 of the New York edition with the headline: The Guccis Fight to Protect the Family Name . Order Reprints \| Today’s Paper \| Subscribe Related Content Unbuttoned Vanessa Friedman looks at fashion through the lens of politics, business and technology. Kevin Mazur/Getty Images Max Lautenschlaeger/Visum, Redux Photographs by Erin Schaff/The New York Times; Kenny Holston/The New York Times (second from right) More in Style Aislinn Rose Photography Denis Reggie Matteo Prandoni/BFA.com Nathan Smith Editors’ Picks Illustration by Tomi Um James Devaney/Getty Images Trending in The Times Office of the Attorney General of California Ontario Provincial Police Suzanne Saroff MPTV Images, via Reuters Connect Jason Mowry/Getty Images Nicole Hester/USA Today Network, via Reuters Philip Lindeman Photo Illustration by The New York Times; Photo: Scott Gries/Getty Images Maria Baranova Advertisement SKIP ADVERTISEMENT
Markdown	[Skip to content](https://www.nytimes.com/2021/11/30/style/guccis-criticize-house-of-gucci.html#site-content)[Skip to site index](https://www.nytimes.com/2021/11/30/style/guccis-criticize-house-of-gucci.html#site-index) Search & Section Navigation Section Navigation Search [Style](https://www.nytimes.com/section/style) [Log in](https://myaccount.nytimes.com/auth/login?response_type=cookie&client_id=vi&redirect_uri=https%3A%2F%2Fwww.nytimes.com%2Fsubscription%2Fonboarding-offer%3FcampaignId%3D7JFJX%26EXIT_URI%3Dhttps%253A%252F%252Fwww.nytimes.com%252F2021%252F11%252F30%252Fstyle%252Fguccis-criticize-house-of-gucci.html&asset=masthead) Monday, March 9, 2026 [Today’s Paper](https://www.nytimes.com/section/todayspaper) [Style](https://www.nytimes.com/section/style)\\|The Guccis Are Really Not Happy About ‘House of Gucci’ https://www.nytimes.com/2021/11/30/style/guccis-criticize-house-of-gucci.html - Share full article - 271 Advertisement [SKIP ADVERTISEMENT](https://www.nytimes.com/2021/11/30/style/guccis-criticize-house-of-gucci.html#after-top) Supported by [SKIP ADVERTISEMENT](https://www.nytimes.com/2021/11/30/style/guccis-criticize-house-of-gucci.html#after-sponsor) UNBUTTONED # The Guccis Are Really Not Happy About ‘House of Gucci’ When artistic license collides with reality, which one wins? - Share full article - 271 ![](https://static01.nyt.com/images/2021/11/29/fashion/29GUCCI-film-still/29GUCCI-film-still-articleLarge.jpg?quality=75&auto=webp&disable=upscale) Lady Gaga as Patrizia Reggiani in “House of Gucci.”Credit...MGM [![Vanessa Friedman](https://static01.nyt.com/images/2018/06/12/multimedia/vanessa-friedman/vanessa-friedman-thumbLarge.png)](https://www.nytimes.com/by/vanessa-friedman) By [Vanessa Friedman](https://www.nytimes.com/by/vanessa-friedman) Published Nov. 30, 2021Updated Dec. 3, 2021 The fractious Gucci family, whose internecine power struggles famously helped it lose the company Guccio Gucci founded in 1921, has finally found common cause once again. The reason for the family’s reunification: “[House of Gucci,](https://www.nytimes.com/2021/11/23/movies/house-of-gucci-review.html)” the 24-carat camp drama framed in pigskin about the murder of the family scion Maurizio Gucci. The film, starring Lady Gaga as Patrizia Reggiani, the spurned wife who commissioned the hit, and Adam Driver as Maurizio, opened in the United States last week, bringing 10 members of the dynasty back together to protest what they believe is a distortion of history, the family name and the brand they made. The descendants of Aldo Gucci, one of the three sons of Guccio, and the man who turned the Florentine leather brand into a global sensation (and who is played in the film by Al Pacino as a sort of rumpled, prosciutto-spewing American cartoon of a Mafioso) issued a statement, reading: “Although the film claims to tell the ‘true story’ of the family, the narrative is anything but accurate, depicting Aldo Gucci — president of the company for 30 years — and other members of the Gucci family who were the protagonists of well-documented events, as hooligans, ignorant and insensitive to the world around them.” It went on: “Even more censurable is the baffling reconstruction of events that advocate leniency toward a woman who was definitively convicted as the instigator of Maurizio Gucci’s murder. To see her portrayed as a victim — not only in the film but also in statements by the cast — who is trying to survive in a male-dominated corporate culture, is an injustice and could not be further from the truth.” Public relations representatives for the film said that neither the producers nor Ridley Scott, the director, could be reached to respond to the family’s statement. Lady Gaga has [acknowledged](https://www.vogue.co.uk/arts-and-lifestyle/article/lady-gaga-interview) that she did not engage with Ms. Reggiani (who has expressed her displeasure about not being consulted), or even read the book on which the film was based, the better to create her character from her own imagination, she has said. In response to earlier criticisms from [Patrizia Gucci](https://apnews.com/article/gucci-heirs-worry-depiction-ridley-scott-film-929388bfb17bede59522c188370b75fd) (a daughter of Paolo Gucci, played by Jared Leto as a dolt of a designer in a bad corduroy suit) that the filmmakers were exploiting a family tragedy for Hollywood profit, Mr. Scott said on the BBC “[Today” show](https://deadline.com/2021/11/ridley-scott-hits-back-at-gucci-family-criticism-reveals-napoleon-biopic-kitbag-filming-date-1234878689/): “I don’t engage with that. You have to remember that one Gucci was murdered and another went to jail for tax evasion, so you can’t be talking to me about making a profit. As soon as you do that, you become part of the public domain.” The suggestion being: Once you’re in the public domain, your story is not your own. An assumption presumably exacerbated if your ancestors have deliberately transformed your family name into a brand that they then sold to the world. It’s kind of like saying they swapped the family soul for fame and filthy lucre, so tough luck. It’s also why the family decided to take the fight public. It may seem like a squabble in a green-and-red horse-bit-tinged teacup, but at a time when the distinction between what is fact and what is fiction has become evermore porous, when the concept of so-called alternative facts has became a part of the general discourse, and when viewers tend to believe whatever they see onscreen (big or little), it has resonance that goes beyond the box office. ## Editors’ Picks [![](https://static01.nyt.com/images/2026/03/08/realestate/07re-ASK-ILLO/07re-ASK-ILLO-thumbLarge.jpg)How to Make Your Co-op Fix What’s Broken](https://www.nytimes.com/2026/03/07/realestate/problem-co-op-boards.html) [![](https://static01.nyt.com/images/2026/03/08/arts/08CUL-SNL-RECAP/08CUL-SNL-RECAP-thumbLarge.png)On ‘S.N.L.’, Pete Hegseth Says Iran ‘Isn’t a War, It’s a Situationship’](https://www.nytimes.com/2026/03/08/arts/television/snl-ryan-gosling-harry-styles-iran-war.html) [![](https://static01.nyt.com/images/2026/03/03/travel/00trav-rivercruise-illo-sub/00trav-rivercruise-illo-sub-thumbLarge.jpg)How to Prepare for Your First River Cruise](https://www.nytimes.com/2026/03/09/travel/how-to-prepare-for-your-first-river-cruise.html) Advertisement [SKIP ADVERTISEMENT](https://www.nytimes.com/2021/11/30/style/guccis-criticize-house-of-gucci.html#after-pp_edpick) Image ![](https://static01.nyt.com/images/2021/12/05/fashion/29GUCCI-Patrizia-Reggiani/merlin_198475107_ba30002f-d2aa-443c-9df7-c0007fe531e6-articleLarge.jpg?quality=75&auto=webp&disable=upscale) Patrizia Reggiani in the 1980s.Credit...Ipa/Shutterstock ## True or Not True? Sure, the Guccis are interested in perpetuating the aura of their own taste (even though they no longer have a financial relationship with Gucci the brand, they are deeply attached to the name). But that doesn’t mean their concerns are without merit. As Lady Gaga said in a British Vogue article, “I did my very best to play the truth.” But whose truth? Not, the Gucci family says, theirs. According to Patricia Gucci, the family began discussing the possibility of a joint statement a month or so ago, after the breathless reaction on social media to early trailers suggested there would be a wholesale embrace of Mr. Scott’s version and after earlier attempts by the family to contact the film’s producers before the movie was even in production were never returned. On one level, this is not a surprise. For as long as there have been biopics, the people on whose lives they have been based (or the people with a stake in the lives on which they have been based) have often felt shortchanged or otherwise misrepresented by the result. Michael Oher was not happy with “The Blind Side,” nor Mark Zuckerberg with “The Social Network.” And there’s an entire industry in complaining about what “The Crown” gets wrong. “Based on a true story” is effectively creative code for “some artistic license involved,” which is itself shorthand for sacrificing fact to dramatic imperative and story arc. Image ![](https://static01.nyt.com/images/2021/12/05/fashion/30GUCCI-still-2/merlin_198110541_dbadb1ad-c3ef-40f7-b8b0-3144c573f3a3-articleLarge.jpg?quality=75&auto=webp&disable=upscale) Lady Gaga as Patrizia Reggiani and Adam Driver as Maurizio Gucci.Credit...MGM As it happens, “Gucci” takes the caveats a step further, with the opening disclaimer “inspired by a true story,” a signal that the filmmakers may have taken more liberties than usual. (Another signal: All the characters speak English in various versions of fake Italian accents, a much-derided choice that makes no sense.) Yet the film is not presented as magical realism, nor even overt satire. It is based on the nonfiction book by Sara Gay Forden, “The House of Gucci: A True Story of Murder, Madness, Glamour, and Greed,” and none of the names have been changed, creating an expectation that what the viewer is seeing is at least a plausible re-creation of a historical truth. There has been much discussion of the attention to period detail when it comes to the [wardrobes](https://www.nytimes.com/2021/09/24/fashion/fashion-janty-yates-house-of-gucci.html) — so ’70s and ’80s fabulous! Even some from the actual Gucci archive itself\! But a cursory and noncomprehensive list of some of the changes the filmmakers made includes: the erasure of three of Aldo’s four children (who were also in the family business); the deletion of Dawn Mello, a key figure in the Gucci renaissance under Maurizio and his outside partner, Investcorp (and a female power player); the collapsing of various outside lawyers and bankers into the single figure of Domenico De Sole, who has been turned into a Tom Hagen figure à la “The Godfather” who not only does professional dirty work but also personal; and the fast-forwarding of Tom Ford’s breakthrough collection to associate it with Maurizio’s leadership (not true; nor did it involve men or Gucci G-strings — those came years later). Such reduction can often be excused in the name of art and story streamlining: plot details that matter only to insiders. And the actual Gucci saga, with its competing boardroom power plays, was convoluted at the best of times. At a time of limited attention spans, you can understand why it seemed better left on the cutting room floor. Except that there is also another element that has also been elided in the film: the reason any of it mattered in the first place. Image ![](https://static01.nyt.com/images/2021/12/05/fashion/29GUCCI-maurizio/merlin_198475110_2cfddfdd-addc-451e-ad82-f325fbfa378c-articleLarge.jpg?quality=75&auto=webp&disable=upscale) Maurizio Gucci in the 1980s.Credit... Ipa/Shutterstock ## Gucci Gucci Gucci For that you have to go back to the myth of elegance, craft and a bit of flash encapsulated by the word “Gucci” that made the products — the shoes and bags and clothes — desirable as markers of both aspiration and achievement. And that was created largely by the exact characters the film turns into caricatures, embracing the showy trappings of success — furs! Ferraris! — to gussy up a rotten core. They may be entertaining to watch (Jared Leto and Lady Gaga may even get Oscar nominations out of it), but as tastemakers they are impossible to believe. By most accounts, Aldo and even Paolo, not simply Maurizio and Rodolfo, were magnetic figures whose carriage reflected the soignée substance of what they were selling — and, indeed, helped sell it. In [a recent review](https://airmail.news/issues/2021-11-27/tom-ford-does-gucci?utm_medium=email&utm_source=blast&utm_campaign=standard-2021-11-26) of the film for Air Mail, Tom Ford, who had a front-row seat to the whole story (though not the precise one depicted in the film), wrote: “In real life, none of it was camp. It was at times absurd, but ultimately it was tragic.” The lack of nuance in the movie made him, he wrote, “deeply sad.” In a phone call, Domenico De Sole said much the same. In their statement the family said it reserves the right to “protect its name, image, and dignity,” which sounds like yet another Gucci case might be the offing. But Patricia Gucci (who is currently embroiled in [a different lawsui](https://www.nytimes.com/2020/09/09/style/gucci-family-lawsuit.html)t, in which one of her daughters is suing her ex-husband for childhood sexual abuse, and she is named as a co-defendant) said there are no such plans; they are leaving it to the court of public opinion for now. Will it make a difference? It’s easy to dismiss the complaints as the whining of sore losers who are obsessed with image over all. But it’s exactly that image that formed a totem of identity that is part of the story of how we got to here: how so-called craft became a value unto itself and fashion vaulted from being a bunch of small family-run businesses into a global part of pop culture. And that in turn is part of what made the movie itself worth making, because that’s why a corporate and family crisis exploded into closets around the world. It’s part of why, since the film’s release, searches for Gucci products have gone into the stratosphere; according to the global fashion marketplace [lovethesales.com](http://lovethesales.com/), up 257 percent for Gucci bags alone. To miss that seems not so much like creating art and more like fake news. And in that case, no one really wins. [Vanessa Friedman](https://www.nytimes.com/by/vanessa-friedman) is The Times's fashion director and chief fashion critic. She was previously the fashion editor of the Financial Times. A version of this article appears in print on Dec. 5, 2021, Section ST, Page 12 of the New York edition with the headline: The Guccis Fight to Protect the Family Name. 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Readable Markdown	Advertisement [SKIP ADVERTISEMENT](https://www.nytimes.com/2021/11/30/style/guccis-criticize-house-of-gucci.html#after-top) UNBUTTONED When artistic license collides with reality, which one wins? ![](https://static01.nyt.com/images/2021/11/29/fashion/29GUCCI-film-still/29GUCCI-film-still-articleLarge.jpg?quality=75&auto=webp&disable=upscale) Lady Gaga as Patrizia Reggiani in “House of Gucci.”Credit...MGM Published Nov. 30, 2021Updated Dec. 3, 2021 The fractious Gucci family, whose internecine power struggles famously helped it lose the company Guccio Gucci founded in 1921, has finally found common cause once again. The reason for the family’s reunification: “[House of Gucci,](https://www.nytimes.com/2021/11/23/movies/house-of-gucci-review.html)” the 24-carat camp drama framed in pigskin about the murder of the family scion Maurizio Gucci. The film, starring Lady Gaga as Patrizia Reggiani, the spurned wife who commissioned the hit, and Adam Driver as Maurizio, opened in the United States last week, bringing 10 members of the dynasty back together to protest what they believe is a distortion of history, the family name and the brand they made. The descendants of Aldo Gucci, one of the three sons of Guccio, and the man who turned the Florentine leather brand into a global sensation (and who is played in the film by Al Pacino as a sort of rumpled, prosciutto-spewing American cartoon of a Mafioso) issued a statement, reading: “Although the film claims to tell the ‘true story’ of the family, the narrative is anything but accurate, depicting Aldo Gucci — president of the company for 30 years — and other members of the Gucci family who were the protagonists of well-documented events, as hooligans, ignorant and insensitive to the world around them.” It went on: “Even more censurable is the baffling reconstruction of events that advocate leniency toward a woman who was definitively convicted as the instigator of Maurizio Gucci’s murder. To see her portrayed as a victim — not only in the film but also in statements by the cast — who is trying to survive in a male-dominated corporate culture, is an injustice and could not be further from the truth.” Public relations representatives for the film said that neither the producers nor Ridley Scott, the director, could be reached to respond to the family’s statement. Lady Gaga has [acknowledged](https://www.vogue.co.uk/arts-and-lifestyle/article/lady-gaga-interview) that she did not engage with Ms. Reggiani (who has expressed her displeasure about not being consulted), or even read the book on which the film was based, the better to create her character from her own imagination, she has said. In response to earlier criticisms from [Patrizia Gucci](https://apnews.com/article/gucci-heirs-worry-depiction-ridley-scott-film-929388bfb17bede59522c188370b75fd) (a daughter of Paolo Gucci, played by Jared Leto as a dolt of a designer in a bad corduroy suit) that the filmmakers were exploiting a family tragedy for Hollywood profit, Mr. Scott said on the BBC “[Today” show](https://deadline.com/2021/11/ridley-scott-hits-back-at-gucci-family-criticism-reveals-napoleon-biopic-kitbag-filming-date-1234878689/): “I don’t engage with that. You have to remember that one Gucci was murdered and another went to jail for tax evasion, so you can’t be talking to me about making a profit. As soon as you do that, you become part of the public domain.” The suggestion being: Once you’re in the public domain, your story is not your own. An assumption presumably exacerbated if your ancestors have deliberately transformed your family name into a brand that they then sold to the world. It’s kind of like saying they swapped the family soul for fame and filthy lucre, so tough luck. It’s also why the family decided to take the fight public. It may seem like a squabble in a green-and-red horse-bit-tinged teacup, but at a time when the distinction between what is fact and what is fiction has become evermore porous, when the concept of so-called alternative facts has became a part of the general discourse, and when viewers tend to believe whatever they see onscreen (big or little), it has resonance that goes beyond the box office. Image ![](https://static01.nyt.com/images/2021/12/05/fashion/29GUCCI-Patrizia-Reggiani/merlin_198475107_ba30002f-d2aa-443c-9df7-c0007fe531e6-articleLarge.jpg?quality=75&auto=webp&disable=upscale) Patrizia Reggiani in the 1980s.Credit...Ipa/Shutterstock ## True or Not True? Sure, the Guccis are interested in perpetuating the aura of their own taste (even though they no longer have a financial relationship with Gucci the brand, they are deeply attached to the name). But that doesn’t mean their concerns are without merit. As Lady Gaga said in a British Vogue article, “I did my very best to play the truth.” But whose truth? Not, the Gucci family says, theirs. According to Patricia Gucci, the family began discussing the possibility of a joint statement a month or so ago, after the breathless reaction on social media to early trailers suggested there would be a wholesale embrace of Mr. Scott’s version and after earlier attempts by the family to contact the film’s producers before the movie was even in production were never returned. On one level, this is not a surprise. For as long as there have been biopics, the people on whose lives they have been based (or the people with a stake in the lives on which they have been based) have often felt shortchanged or otherwise misrepresented by the result. Michael Oher was not happy with “The Blind Side,” nor Mark Zuckerberg with “The Social Network.” And there’s an entire industry in complaining about what “The Crown” gets wrong. “Based on a true story” is effectively creative code for “some artistic license involved,” which is itself shorthand for sacrificing fact to dramatic imperative and story arc. Image ![](https://static01.nyt.com/images/2021/12/05/fashion/30GUCCI-still-2/merlin_198110541_dbadb1ad-c3ef-40f7-b8b0-3144c573f3a3-articleLarge.jpg?quality=75&auto=webp&disable=upscale) Lady Gaga as Patrizia Reggiani and Adam Driver as Maurizio Gucci.Credit...MGM As it happens, “Gucci” takes the caveats a step further, with the opening disclaimer “inspired by a true story,” a signal that the filmmakers may have taken more liberties than usual. (Another signal: All the characters speak English in various versions of fake Italian accents, a much-derided choice that makes no sense.) Yet the film is not presented as magical realism, nor even overt satire. It is based on the nonfiction book by Sara Gay Forden, “The House of Gucci: A True Story of Murder, Madness, Glamour, and Greed,” and none of the names have been changed, creating an expectation that what the viewer is seeing is at least a plausible re-creation of a historical truth. There has been much discussion of the attention to period detail when it comes to the [wardrobes](https://www.nytimes.com/2021/09/24/fashion/fashion-janty-yates-house-of-gucci.html) — so ’70s and ’80s fabulous! Even some from the actual Gucci archive itself\! But a cursory and noncomprehensive list of some of the changes the filmmakers made includes: the erasure of three of Aldo’s four children (who were also in the family business); the deletion of Dawn Mello, a key figure in the Gucci renaissance under Maurizio and his outside partner, Investcorp (and a female power player); the collapsing of various outside lawyers and bankers into the single figure of Domenico De Sole, who has been turned into a Tom Hagen figure à la “The Godfather” who not only does professional dirty work but also personal; and the fast-forwarding of Tom Ford’s breakthrough collection to associate it with Maurizio’s leadership (not true; nor did it involve men or Gucci G-strings — those came years later). Such reduction can often be excused in the name of art and story streamlining: plot details that matter only to insiders. And the actual Gucci saga, with its competing boardroom power plays, was convoluted at the best of times. At a time of limited attention spans, you can understand why it seemed better left on the cutting room floor. Except that there is also another element that has also been elided in the film: the reason any of it mattered in the first place. Image ![](https://static01.nyt.com/images/2021/12/05/fashion/29GUCCI-maurizio/merlin_198475110_2cfddfdd-addc-451e-ad82-f325fbfa378c-articleLarge.jpg?quality=75&auto=webp&disable=upscale) Maurizio Gucci in the 1980s.Credit... Ipa/Shutterstock ## Gucci Gucci Gucci For that you have to go back to the myth of elegance, craft and a bit of flash encapsulated by the word “Gucci” that made the products — the shoes and bags and clothes — desirable as markers of both aspiration and achievement. And that was created largely by the exact characters the film turns into caricatures, embracing the showy trappings of success — furs! Ferraris! — to gussy up a rotten core. They may be entertaining to watch (Jared Leto and Lady Gaga may even get Oscar nominations out of it), but as tastemakers they are impossible to believe. By most accounts, Aldo and even Paolo, not simply Maurizio and Rodolfo, were magnetic figures whose carriage reflected the soignée substance of what they were selling — and, indeed, helped sell it. In [a recent review](https://airmail.news/issues/2021-11-27/tom-ford-does-gucci?utm_medium=email&utm_source=blast&utm_campaign=standard-2021-11-26) of the film for Air Mail, Tom Ford, who had a front-row seat to the whole story (though not the precise one depicted in the film), wrote: “In real life, none of it was camp. It was at times absurd, but ultimately it was tragic.” The lack of nuance in the movie made him, he wrote, “deeply sad.” In a phone call, Domenico De Sole said much the same. In their statement the family said it reserves the right to “protect its name, image, and dignity,” which sounds like yet another Gucci case might be the offing. But Patricia Gucci (who is currently embroiled in [a different lawsui](https://www.nytimes.com/2020/09/09/style/gucci-family-lawsuit.html)t, in which one of her daughters is suing her ex-husband for childhood sexual abuse, and she is named as a co-defendant) said there are no such plans; they are leaving it to the court of public opinion for now. Will it make a difference? It’s easy to dismiss the complaints as the whining of sore losers who are obsessed with image over all. But it’s exactly that image that formed a totem of identity that is part of the story of how we got to here: how so-called craft became a value unto itself and fashion vaulted from being a bunch of small family-run businesses into a global part of pop culture. And that in turn is part of what made the movie itself worth making, because that’s why a corporate and family crisis exploded into closets around the world. It’s part of why, since the film’s release, searches for Gucci products have gone into the stratosphere; according to the global fashion marketplace [lovethesales.com](http://lovethesales.com/), up 257 percent for Gucci bags alone. To miss that seems not so much like creating art and more like fake news. And in that case, no one really wins. [Vanessa Friedman](https://www.nytimes.com/by/vanessa-friedman) is The Times's fashion director and chief fashion critic. She was previously the fashion editor of the Financial Times. A version of this article appears in print on Dec. 5, 2021, Section ST, Page 12 of the New York edition with the headline: The Guccis Fight to Protect the Family Name. [Order Reprints](https://nytimes.wrightsmedia.com/) \\| [Today’s Paper](https://www.nytimes.com/section/todayspaper) \\| [Subscribe](https://www.nytimes.com/subscriptions/Multiproduct/lp8HYKU.html?campaignId=48JQY) ## Related Content [Unbuttoned](https://www.nytimes.com/column/unbuttoned) Vanessa Friedman looks at fashion through the lens of politics, business and technology. - ![Adele performing onstage at Caesars Palace in January in a dress by Dolce & Gabbana.](https://static01.nyt.com/images/2024/11/24/multimedia/21ADELE-VEGAS-01-kftv/21ADELE-VEGAS-01-kftv-thumbLarge.jpg?quality=75&auto=webp&disable=upscale) Kevin Mazur/Getty Images - ![Hedi Slimane in 2003.](https://static01.nyt.com/images/2024/10/10/fashion/hedi-chanel-portrait-zqch/hedi-chanel-portrait-zqch-thumbLarge.jpg?quality=75&auto=webp&disable=upscale) Max Lautenschlaeger/Visum, Redux - Photographs by Erin Schaff/The New York Times; Kenny Holston/The New York Times (second from right) [More in Style](https://www.nytimes.com/section/style) - ![](https://static01.nyt.com/images/2026/03/08/style/00MINI-HYLAND-THALMAN/00MINI-HYLAND-THALMAN-square640.jpg?quality=75&auto=webp&disable=upscale) Aislinn Rose Photography - ![Carolyn Bessette Kennedy and John F. 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