February 21, 2007 Milan
When the print came, it was angular and geometric, based on a pattern Monroe once wore, or composed of rounded-off overlapping rectangles and, in one section, an architecturally derived scheme called "Duomo." All these were applied to skimpy jersey dresses and long caftans, liberally mixed with fur bombers and frizzy Mongolian lamb chubbies and styled with suede wedges and clunky, geometric cuffs.
If the intention was to demonstrate Pucci's push to become known as more than a maker of jazzy dresses, that's fair enough. The critical point, though, in this of all places, is whether the color choices are sufficiently spot-on to put Pucci in a position to mix with directional fashion. And that was the trouble: Somehow, none of Willamson's combinations of dusty pinks, purples, ochers, browns, and greens ever lifted themselves to the vivid level of the magentas, turquoises, electric blues, and oranges that are setting the pace right now. If he wants to get that right next season, he'll need help to fine-tune his palette.