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Emilio Pucci

Pucci is a house that stands on one iconic savoir fair—the print—and in order for a house designer to maintain his own aesthetic, he must first find a vocabulary strong enough to parallel the brand and its legacy. Pucci’s former designer, Peter Dundas, knew how to make a sequined dress or a 70’s velvet suit look like Pucci, while giving the Pucci print a modern spin and upholding its luxe, jet-set brand DNA. Now that the Norwegian designer has moved on to Roberto Cavalli, it is up to a young, Italian designer named Massimo Giorgetti to fill Dundas’ shoes.

Giorgetti founded a cool, Made in Italy brand, MSGM, which became a favorite of street style stars due to its vibrant colors and fun use of textures; and while today it is a US $45 million dollar business, Pucci is the “big leagues”—and, regrettably, Giorgietti’s version failed to impress. The collection lacked polish, coherence, and, most notably, prints. He instead featured sequined seashell dresses and mesh tops; meanwhile, the silhouette was sometimes too grungy and broke from the house’s design codes. This is not to say that there weren’t some enviable pieces—particularly a blue sequined dress over a long-sleeved striped shirt worn by Jamie Bochert. But in accepting this position, Massimo Giorgetti should have understood that he also accepted to be less “Giorgetti” and a bit more “Pucci.”

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