Nearly 27 years have passed since the morning of March 27, 1995, the day of the death of Maurizio Gucci, heir to the Italian luxury house that bore his name. During those 27 years, Allegra Gucci, the second child of Maurizio and his wife, Patrizia—Who was convicted of arranging her ex-husband’s assassination and served 18 years in prison — has remained silent amid the allegations, headlines, TV interviews, and one recent major Hollywood adaptation, Ridley Scott‘s House of Gucci, that have swirled around her family. That changes this month with the publication of Game Over (Edizioni Piemme), a 200-page book in which she tells her own story, her way. In an exclusive interview with Vanity Fair Italy editor Simone Marchetti, Allegra Gucci explains why she finds fault with the film and why she has decided to speak out.
“I have two young children,” she says. “Seeing the hype caused by the film House of Gucci, I did not want them to grow up without knowing the truth about the family they come from. ”
This interview has been translated, edited, and condensed.
Vanity Fair: Let’s start from that day, the day of your father’s death, shot four times by a hit man in the center of Milan. How did you find out about his death?
Allegra Gucci: I was in my room; I did not sleep well that night. My mother, Patrizia Reggiani, entered the room and told me that my father was dead. I was 14 then, and I remember crouching down on the floor and looking out the window overlooking Piazza San Babila. Below, the yellow taxis and people kept moving. But I was as still as if I were in a bubble and my life had stopped.
Your book wants to shine a light on the shadows of this history and the past 27 years. You discuss five women: Paola Franchi, your father’s partner at the time; Giuseppina Auriemma, known as the “sorceress”; Loredana Canò, your mother’s cellmate; Silvana Barbieri Reggiani, your grandmother; and finally, Patrizia Reggiani, your mother. Let’s start with Paola Franchi, often described as the victim of this affair in the newspapers.
On the night of March 27, a few hours after my father’s death, Paola Franchi moved out of their 1,000 square meters [almost 10,800 square feet] in Corso Venezia, where she lived with him. She did the same with the house in St. Moritz in the following days.
In the film, to the contrary, your mother is shown arriving at the house in Corso Venezia to send her away…
Lies. My mother never went there. However, that same day, my sister, Alessandra, went to the address to ask for something of our father: She wanted to smell his scent again and hug him for the last time. Franchi did not show up; in her place, someone opened the door hastily to give my sister our father’s white sweater that had been left on an armchair. Franchi left the house in July, many months later. It’s all in the records.
There are two other issues relating to Franchi and reported in the book: a “cohabitation agreement” and the story behind the custody suit because you were a minor…
The first document is important for two reasons. First: It is the evidence of the great love between my father and my mother, a beautiful story that lasted 13 years and was interrupted by their separation in 1985. Their marriage did not end because of Franchi, as is often reported in the newspapers: The separation dated back at least seven years before his relationship with her. Second: The cohabitation agreement attests to my father’s wish not to get married again. He repeated it to everyone: He would never create a family again because his family was us — my sister and me.
And the lawsuit over your custody?
Franchi was not my father’s wife, not my mother, and not a friend. When my mother was found guilty in 1998, Franchi went to the juvenile court indicating that my assets and I were “in disarray,” and she offered to protect me and my interests. Another slap. I, the daughter of a murdered father and an imprisoned mother, had to suffer this too. And even though the Swiss authorities had already appointed a legal guardian, so I certainly could not be in disarray, at that moment I also had to think about defending myself, going before a judge to explain what I felt, what was mine in life , to justify myself to avoid another attack. Paola Franchi has never given us respite. And she continued. I do not understand how you can throw yourself at a little girl like that. Or maybe I know: She was looking for some reward because her actions are contrary to her professed intentions of care and love.
We come to the second female figure: Silvana Reggiani, your grandmother.
A beautiful woman. I remember her perfect red nails. Her elegance, her hair pulled back in a gorgeous bun. Her long legs.
In the movie House of Gucci, she and your grandfather, shown in a vest as a truck driver, are described another way…
More lies. Grandfather wore only silk shirts and perfectly ironed jackets.
How did your grandmother influence this story?
She always had a strong character that was not compatible with her daughter, my mother. In fact, we did not see her very much, just on important occasions. When my mother was arrested, I was placed in her care. I trusted her blindly. But…
But I soon realized that, for Silvana, there was only money and the power that comes with it. She manipulated us with feelings of guilt. And she manipulated others with her acquired economic power.