Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli

Happiness is just a hairflip away.
Chris Crocker


"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford



Massimo Giorgetti had half a dozen prints of artist Elizabeth Peyton's misty, water-colored portraits pasted onto his mood board. There's one coming up for sale at Christie's, he said, that's slated to sell for a million dollars. "She only took three years to become an important artist", he sighed. Perhaps the Italian designer was thinking of his own meteoric rise -as of last year, he's the new man at Emilio Pucci, a little-known out-of-left-field choice for the august Florentine house. The influence of Elizabeth Peyton's work in this collection was fairly concrete : the sense of the spontaneous, the immediate, something dashed off quickly, capturing a moment. Massimo Giorgetti said he liked that, and there was a hurried sense to the outfits he showed, topped with tousled hair and bottomed with sneakers, the in-between bits of tailoring and sports mashed and mangled together. A sweater, say, with a chomped-up hem, as if knitters were interrupted before they got a chance to rib it; argyles were perforated with holes, and colors (hazmat orange, Hockney blue, a virulent geranium) zinged. It felt as if they hit your retina faster than others. Twisted about the body, the clothes seemed as if they were pulled on in a hurry, or in the dark. Massimo Giorgetti liked the fact Elizabeth Peyton used her slapdash style to paint "normal people and royalty". That was reflected in a mash-up of fabrics, casual and formal, sickly patent coats and trousers with felted wool cardigans, some of them pinned with plasticized corsages, as if from screwed-up prom dates. Print was almost abandoned—instead, the designer used time-consuming methods, like intarsia inlays or jacquards, to weave his graphics. You might not have noticed : he blasted Cassius, the French electro band, to make everything pump with hyped-up speed, and the show barreled on by. Rather than feeling a sense of dread over the pace of fashion today, or over the demands placed on a relatively young designer's shoulders (he is 39; in Milan many of his competitors have 20 years on him), you just felt re-energized. It seemed Massimo Giorgetti did too. If he's feeling pressure, he certainly isn't showing it.

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