Epic Hollywood films don’t have pilot episodes; TV series do. Designer Massimo Giorgetti admitted he’s a big fan of the latter, which explains why he called his first collection for Emilio Pucci “The Pilot Episode,” prefacing the transeasonal women’s and menswear that he showed in the grounds of a Florentine art school last night with a light touch of pop culture. “The mix between past, present, and future is very important to me,” explained Giorgetti, holding court beneath Massimiliano Locatelli’s fluorescent light display as models trained listlessly to the strains of the Vitamin String Quartet.
Their renditions of the Strokes songs expressed the clash of old and new that reverberates throughout Giorgetti’s Pucci debut: a visual feast of textures not-as-they-seem, a boisterous color mix, and ladylike silhouettes twisted with a retro frisson. Tackling his own decade-spanning challenge, Giorgetti treated Mr. Pucci’s iconic scarf prints to a twenty-first-century shakeup bold painterly stripes fell off the shoulder on a twisted lambskin shift dress or wrapped around a feather-belted silk slip in shades of black, candy pink, violet, and sunny orange.
Elsewhere, the new Tourists in Florence print came sketched across pajama silk shirts or picked out in macramé (if you look closely, you’ll even see President Obama hiding amongst the Duomo and Ponte Vecchio) in an incongruous moment of kitsch that was not, ironically, dug out of any house archives. A little easier on the eye, floral aquarelle prints were shredded and applied as a fringe or cut as lopsided tunic tops worn with mannish trousers, building moments of asymmetry and dynamic surface play that culminated in a reverse fil coupé jacquard coat. Inside that coat, Giorgetti revealed, was traced the filigree swirls of the fleur-de-lis or Florentine lily, the same flower he has integrated into the new mirrored P logo, an omnipresent symbol that came emblazoned across stacked heel silver loafers and a thatched tote, or woven into a Lurex skirt.
“At the beginning of his career, Emilio Pucci was very free; he didn’t conform,” said Giorgetti, reasoning with his own radical side whilst fingering the laser-cut nylon of a deep blue duster coat. “Before he was famous for print, he was celebrated for his daywear like ski pants, leggings, technical fabrics, jersey, and nylon. I would like to rebuild the same attitude not only in the clothes, but towards the fashion system too.” And with Pucci CEO and heir Laudomia Pucci cheering on from the sidelines, he just may have found the time, and the place, to do it.
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: The House of EMILIO PUCCI
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