Psychedelic geometries on Florentine rooftops spinning at a metropolitan speed.
Pucci keeps the pulse right where it grew: in the Palazzo. The layering of ambients, from the wrought-iron gates to the stuccos to the unremitting modernism of the rooftop terrace, designed by Gae Aulenti in 1968, where Emilio liked to spend time, is reflected in the geometric refraction of prints, motifs, cuts.
Tout se tient. Mismatch as an easy match of intarsia, color blocks, rhythmic patterns.
Past and present collide: graphically, effortlessly. Respect for the founding values fuels progress, no nostalgia needed. The look is lean, layered, slouchy.
Archive prints, rethought for the now, meet new prints: feathers, Monreale geometries, El borracho lips, flowers. More is definitely more fun.
Pattern turns into texture: embroidered feathers, geometric sequences cut-up into fringes.
Punctuation marks: a long, lean scarf; a tall belt; a touch of fur; long gloves. Ski goggles for a counterintuitive slash.
Pleated skirts hide patterned surprises in the folds. Pajamas, short sheaths and long dresses have an insouciant ease. Photocopy allover motifs grin with witty imperfection.
The faultless coat adds stability. Bandage running shoes look speedy. Ease. Velocity. Irreverence. These are the bywords.
New balances are found under the historied sign of the coat of arms. The new Pucci tribe gathers, effortlessly.
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