Emilio Pucci’s own ties with America – his love for sportswear and a groundbreaking lingerie deal dating back to the Fifties – inspire a glitzy detour across ideas of femininity. The jet set aura and the sporty spirit are mixed and glamorously mingled.
The silhouette is shapely and curvaceous or elongated and dynamic, with voluminous duvets, roomy melton duffels and luxuriously utilitarian double-face coats offering function and protection.
Marylin Monroe’s archetypal charm: nipped waists, big skirts reminiscent of hand painted Pucci classics or languid slips and intarsia camisoles. Cropped knits tops further highlight the womanly shapes. Quilting is a cozy mountain touch that runs up to the toque hats, gaining a sophisticated air.
The private becomes public: underpinnings turn into dresses, as Diana Vreeland suggested looking at Emilio’s artfully printed slips.
The alluring and the sporty, continuously mixed: silk jersey pieces and lace details. Pucci solids on long silk jersey dresses as favored by Marilyn, embellished by few pieces of extraordinary jewelry culled from the Bulgari archives further underline the jet set aura of the American trip.
A beautifying palette of make-up box powdery tones. Soft pinks, blues, greys and dusty pastels are highlighted by the sfumato Mirage prints. Purples and greens combine with taupe in the Tulipani and Trifoglio archive prints. The Emilio Pucci logo follows as a happy mix.
Sophistication meets function in the accessories: minimal leather shopping bags, both in print and solids, with plexiglass handles; oversized pockets go from skirts to bags. Neoprene lace-ups with kitten keels, patent boots.
Glamour gets to the fore, with the quintessential Pucci ease.
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