Emilio Pucci: Heritage can be an albatross, especially one with the specificity and visual overstatement of Pucci. Peter Dundas has worked his way through the issue quite nicely, thank you. His secret: de-Pucci-fying Pucci just a bit while retaining a pleasurable commitment to the print concept. For spring it worked like a charm – a vibrant, sexy, breathy charm. Dundas’ stated inspiration was Brigitte Bardot in the ’70s; unstated, there were nods to Christian Lacroix.
The result: a band of beautiful “summer gypsies,” their hair arranged in just-so messiness, crosses at their necks, their frocks of preference worked in sagely manipulated house graphics. Naturally, long skirts set the mood, billowing under heat-heightening lingerie tops. As it has been Dundas’ challenge to alter perceptions of what Pucci is, he varied the motif. Thus, along with his high-drama gypsies, he sent out spunky hanky-hem gypsies; sleek column-clad gypsies; naughty nude-tone gypsies; rebel gypsies who prefer black, webby knits, and even natty gypsies in printed shirts over shorts or trousers. It was impressive – and elegant in terrain that can turn the opposite of such very quickly. Along the way, Dundas offered more evidence that he has re- established the house as something much more than a time capsule competing with its own vintage market.