Emilio Pucci fashion show in Rome: the new collection by Camille Miceli

After Capri, Sankt Moritz and Florence, the cheerful, colorful and festive caravan put together by Camille Miceli to relaunch Emilio Pucci landed in Rome on Thursday evening with a fashion show at Palazzo Altemps, a stone’s throw from Piazza Navona.
The event followed what is now the typical approach of the creator, at the helm of the brand since 2022: a few guests, almost all of her friends, for two days of events, dinners, celebrations and, obviously, fashion, organized to embody a contemporary version of the chic and holiday style historically associated with the brand. As for the choice of the Capital as the destination of the season, there are also very personal reasons. “My father is Sicilian by origin but Roman by adoption”, says the creative. “For me, Rome has always been a refuge from the gloom of Paris: when I was younger and I needed to feel light, feminine and appreciated, it was enough for me to spend a few days here.”

Evocative location aside, the Italian-French designer pushes hard to leverage the unique imagery of the brand: reworks for the first time the Vivara print, invented by Pucci in 1965 and which became one of his most famous designsi, revisits the palazzo pajamas, sends on the catwalk a lot of caftans perfect for summer parties, breaks down the brightest prints to transform them into a single graphic sign on black garments, and dedicates the finale to terrycloth evening dresses and tunics, more material much loved by the legendary creator. And then there are the schoolgirl’s coats, the hippie version of denim, fringes, studs and jewelery that veer towards the ethnic or the printed tulle dresses that fit like a second skin.
Karl Lagerfeld, with whom Miceli worked early in his career, used to say that Pucci’s prints were like tattoos: “The comparison has always amused me and so I thought of pieces that would really make them look like tattoos” she says.
Ursula, a delightful pug wearing the dog clothes launched for the occasion, also parades. The show closes with a smiling Isabella Rossellini, who pirouettes in her cape and greets with a ringing “good evening!” the audience standing to applaud her; the photos of a 1990 Vogue Italia report with her as the protagonist, dressed in Pucci pieces decorated with the Vivara print, were the inspiration for the collection, as she herself explains in the hubbub after the show: this is the reason for her presence.
Everything seen on the catwalk, including the avalanche of accessories that complete the looks, is already on sale, with the guests in the front row, from Claudia Gerini to Emma Marrone to Patricia Arquette – sitting next to Silvia Venturini Fendi – dressed in same clothes that parade before their eyes. Today it is almost impossible for those who submit to the rhythms of the system to think of doing something like this. “I find it more right and sensible for the present: we focus on the immediate, producing in smaller quantities than average. This way we avoid accumulations of goods and this seems wise to me”, comments the designer. “Moreover, people today have a bit of the memory of a fish, they forget after a moment what they have seen. It is therefore better to make the most of the moment.” He is very right about this: events of this kind, designed precisely with the aim of arousing the interest and attention of the public, lose their effectiveness if one then has to wait months to purchase the collection presented. Thus the Consumer reaction can be immediate, as can the purchase.
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