Emilio Pucci is a tremendous round of applause and cheers was heard both when Isabella Rossellini concluded the program and when Christy Turlington Burns opened it. “I had a great time,” “We try to emulate Pucci’s spirit of joie de vivre and fun,” Rossellini remarked following the performance, her smile still bright from her spins just moments before, when she threaded her way past the artfully lit ancient statuary of Palazzo Altemps while donning a Vivara sponge caftan.
Patricia Arquette said of the Isabella Rossellini caftans, “I loved the new shapes, a bit of the ’20s or ’60s, a bit of a witchy vibe, perfect for this transitional time, a little bit dark but also bold, and perfect for L.A.” Silvia Venturini Fendi, who was seated next to her, concurred, remarking that the ensemble was “very cinematic, I loved the headpieces.” And it was such a wonderful surprise to see Isabella at the very end.
Earlier in the day, Pucci’s artistic director Camille Miceli revealed that Rossellini was truly “the starting point” because in 1990, she collaborated with Steven Meisel on a Pucci-wearing Vivara photo shoot for Vogue Italia. I adore her as a lady, her activities, her cultural side, the [Mama] Farm, the eggs, and everything about her. I truly wanted her. Everything looks really modern to me, and she’s a lovely woman who is also a lot of fun.
Miceli was enthusiastic about Turlington Burns as well. “She is a dream come true for me; we used to hang out together when we met in 1989 while I was an intern at Chanel, where Miceli went on to work as a publicist for seven years.” Eva Herzigova was described as “a dear friend, I met her when she came to Chanel for the first time” by the person who walked just after Turlington Burns. She gave herself a hug and remarked, “I think it’s nice to have your friends and community around, you feel better.”
Emilio Pucci Spring 2024
One of the few companies that still uses the “see now, buy now” model is Pucci. Miceli debuted her spring 2024 collection in Rome . “It’s the perfect format,” she said. It’s really relevant to now. Due to its unique history and distinctive prints, Pucci cannot be treated like other brands and is therefore unique. People these days tend to forget what they see within a week, so I want to demonstrate and offer them what they may purchase. That being said, this does not imply that we operate differently from our competitors. The timing of the reveal is different, but this collection has been ready since we sold it in October,” she said.
After showcasing her Pucci collections as immersive events in Capri and Saint Moritz, Miceli held her first show in May of last year in Florence, the birthplace of Emilio Pucci, on the banks of the Arno River. This year, she chose to hold the show in the Italian capital, inside the 15th-century Palazzo Altemps, which is now home to a national museum.
She acknowledged that she had also considered appearing on the bridge that links Procida, which is close to Capri and Ischia, with the island of Vivara, the name of which is associated with one of Pucci’s most well-known prints.
After successfully avoiding the rain with the other events, she admitted, “I didn’t feel like taking a risk with the weather.” Rome was not a second-best option, as she raved about the city and the Palazzo, calling it “a hidden luxury” because few people are aware of it. She mentioned that she enjoys hosting dinner parties immediately following and close to the event, so there’s an additional benefit. It also has a downstairs theater.
It’s all so magical, this illusion of Rome, the colors, and the statues are amazing. I adore its courtyard and the frescoes. On the other hand, the cotto flooring make it look quite raw.
Additionally, the palazzo helps to convey a message. “In an effort to get people to think of the brand as something more than just summer wear, I’m working harder and harder to establish it in the city and for everyday wear, from daytime to evening. She said, “I genuinely want people to consider Pucci in their daily lives.
She is making progress since the collection had a strong, compelling purpose. Miceli seems to be growing more self-assured as she plays about and changes the brand’s codes more. This was one of her best lineups—she understands her clientele.
According to Miceli, one should “insist, engraving a message in the mind.” As a result, she has made the decision to carry a select few items of clothing each season, like the denim jeans she wore during the interview that feature a reimagined marble motif. She pointed to her pants and remarked, “They’re from last year, but it’s good to show them again.” Designers appear to be swearing by the need to make a statement that is both as timeless and as current as possible these days.
Without a doubt, Emilio Pucci, the company’s founder, is a shining example for Miceli, who raved about his “fantasy” of creating prints “that never die” and called him “a master in drawing.” Miceli, however, is very much in step with the times, bringing her own fun, almost hippie touch along with her contagious energy and love for what she does.
Three prints, besides Vivara, characterized the season. Chiave [key], which added a Pucci touch to a striped pantsuit, Bersaglio [target], with its swirls and curls emerging on a patchwork foulard dress, and Cigni [swans], with the stylized and delicate necks of the birds cascading down a stunning sequined evening gown. Additionally, there was the iconic Marmo [marble], which was enlarged for a bolder look, particularly on the most recent laser-treated denim, which had lighter chambray. Throughout the complete wardrobe, Pesci (fish) and Iride (iris) could be seen on dresses with flowing jerseys or crisp poplin shirts.
Even though some of the patterns were enormous, Miceli countered them with smaller versions of the same designs, such as fringes on HotPants, inlays in miniskirts, or accents on cuffs or collars of gabardine blazers. There were a number of asymmetrical tops and skirts that combined with jumpsuits, tattoos, and drop-hole tops to create a fun yet elegant style.
A sequence of caftans and hooded gowns by Vivara in a sponge-like material alluded to the archives for the grand finale.
Since the majority of sales are in the ready-to-wear category, Miceli believes that the accessories market has a lot of potential. It has obviously grown to include bold jewelry like colorful disc earrings, and she seems to be having a lot of fun accessorizing raffia bags, the new Mela bag, and flat sandals with scarf detailing. “We decided to develop them more because the Pulcinella bag last year sold very well and there is a demand for them.” There were totes, raffia top-flap bags, and clutches made of nylon with an iride design.
Sandals featured rounded heels modeled after Marmo’s lines, or they had leather leaves extending up the models’ calf.
A collection of dog accessories, including leashes and miniature coats, was also introduced by Miceli.
The Vivara print, which goes back to 1965, features tones of azure and blue and purple, while earthy and traditional hues like beige, sage, and khaki contrast with vibrant red, purple, and pink.
