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One-part Native American, one part Inuit, one part American Hustle—and all of it skimpy, slinky, sexy, ultra-sizzling, slightly seventies stuff. Fashion is always skating on thin ice when it starts naming indigenous peoples as inspiration, one would have to say. But by the time Peter Dundas had whizzed the blankets, ponchos, furs, and cowhides through the blender, thrown in a hip-hop slash rocker sensibility, silver studs, and a pink-brown Emilio Pucci vintage print, well, you could hardly trace the origins if you tried. (Oh: the two stunning silk velvet pantsuits, one fiery red, the other deep green—they were the Hustle moments.)
photo vogue.com
photo vogue.com
Dundas has certainly made over Pucci in his own image since he became creative director. Now the house product is all about girls, body-display, going out, dancing, and causing a stir. Noticeably, there is nothing in the slightest medium, moderated, or everyday in this world. Dresses are either very short, or very long—and either way, they’re there to showcase plenty of flesh. Admittedly, there’s chunky outerwear—a big, fluffy coat which is patchworked to look like lynx (but definitely isn’t), and beaver-lined parkas (the Inuit influence). And then, quite cozy blanket-patterned ponchos and cardigan jackets, along with substantial cow-print leathers.
photo vogue.com
photo vogue.com
Under the creative directorship of the Norwegian-American Dundas, the Florentine print house (it’s a palazzo, actually) has gone places which couldn’t possibly have been imagined in the time of its aristocratic founder, Emilio Pucci.
photo vogue.com
photo vogue.com
photo vogue.com
via vogue.com
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