An unfettered allure. Newly charged with joy and ease. Peter Dundas presents a Fall Winter 2013/14 collection that is distilled down to the very essence of the Pucci girl. Plugg
ed into the carefree, ultra glamorous spirit of the House, yet hit with a re-set punch, a fresh start unfolds. The mood for next fall is playful and unapologetically optimistic.
Winter silhouettes are short, saucy and with just a touch of rock n’ roll. Kilt-cut shorts and wrap front mini- skirts fixate the gaze on the legs, where skin is covered in ultra high over the knee suede boots. The jackets are slim affined through the shoulders and scooped out at the lapel. Oversized, fuzzy mohair coats in sweet, ice cream colors set the tone for the season’s sugar-inflected palette, while a graphic angora knit studded cape reveals a naughty undertone.
A push for new ways of wearing and interpreting print. Pucci’s 1960s Otto print appears in its literal form on charmeuse silk blouses or trimmed with baroque frames on cocktail dresses, then slowly abstracts into micro patterns on crystal beaded embroideries. Tapestry motifs are created with metallic stitched suede appliques on sexy tunic dresses. Intricate collages of silk crepe, suede, and plumetit voile create a luxurious, patterned effect on coquette pastel dresses with flounced trims.
Materials, too, are turned upside down: feather manipulated as fur, or fur as feather. A mink coat sprouts goose feathers, a shaved marabou coat looks furry, curly haired sheepskin coats have a new wooly, textured effect. Burnt tip ostrich feathers bounce across sheer pastel canvases of silk tulle with a lively buoyancy.
Black, gold and touches of animal motifs emerge after dark. Even for evening, shorts are the new pants, like a beaded version worn with an angora sweater and pointed tuxedo moccasins with cigarette heels. Long gowns are replaced by brief tunic dresses in intricate gold metal thread embroideries or in double-faced, dévoré chiffon creating a surface of magnetic, tight black waves.
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