Sara Gay Forden talks about what it was like to write the Gucci story HouseOfGucci
Photo-Illustration: by The Cut; Photos: Getty Images For all of 2021, we’ve been anticipating the release of Ridley Scott’s House of Gucci. The second those gorgeously strange photos from set started trickling out, it was clear the movie was going to be huge — a Zeitgeisty perfect marriage of true crime and camp. And then when the trailer finally dropped, the excitement was explosive.
Well, I didn’t feel the weight of that because I couldn’t have imagined it, but I did feel it was a really daunting enterprise and I felt very small. I was uncertain about whether this book was going to be successful. At one point, I had reached out to Severin Wunderman, the watch manufacturer whose licensing of Gucci watches was always extraordinarily successful. The fees from the licensing kept the company afloat.
In each interview, I would try to cull a few details that I could add to my scenes. Everybody had a different perspective, and everybody was at odds. I had to do a lot of work to rationalize all these different viewpoints by sifting through all my research to try to find out what was the closest to the truth. I hadn’t read it for 20 years myself, and I went back and read it this year. I was saying, Hold on, like, How did I know that? I’d forgotten a lot.
She does — there was so much focus on her obsession with money and luxury, but there’s more to the story than that. When this book was published, there wasn’t much questioning of capitalism in the mainstream political discourse in the U.S., and now there’s a much more vocal anti-capitalist movement. Do you think the movie and the book approach questions of class and privilege differently?
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