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Milan Fashion Week: Emilio Pucci review

By Tamsin Crimmens

Nobody sums up today’s Emilio Pucci Woman, like the women modelling at the Pucci show. They are, of course, some of the most beautiful women in the world – picture-perfect creatures that stalk the international catwalks, slim as reeds and genetically blessed.
Put Peter Dundas’ creations on regular souls and the dazzle they emanate might not have quite the same allure.

At Pucci, it’s hard not to be drawn to the beauty inside the dress – Cara, Kasia, Lindsey, Bette, Aymeline, Joan and the rest. For this is what Dundas, a guy who himself looks like a model out of the 1970s, does best: dress the beautiful. Anyone with less than perfect bone structure… No, anyone with a less than perfect body need not apply. Unless you fancy shrouding yourself in one of his amazing coats – a voluminous fur in powder pink, studded mohair or pistachio feathers. Or a cape; there were lots of capes that also came in fuzzy fabrics or with studs. These were glorious and would work on anybody brave enough to carry them off with the ultra-thigh-high, second-skin suede boots.
As for the rest, you’ll need Supermodel legs to carry off those winter shorts, thigh-skimming silk tunic dresses (baring the most famous 1960s Otto print), and intricately collaged silk crepe dresses with flounced trims, some of which came with cut out backs and bows.
This collection got to the very essence of Pucci and the House’s 1960s heyday – carefree and ultra-glamorous.
But back to the ‘girls’ for a minute. If there’s one hair do that has stood out all day on day four of Milan, it is Luigi Murenu’s gorgeously glossy hair for Pucci. Please note: the fringe, ladies, it’s making a comeback.

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