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.