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 Seventies; 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 reestablished the house as something much more than a time capsule competing with its own vintage market.

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