Maurizio Pecoraro (Q3342)
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Maurizio Pecoraro is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Maurizio Pecoraro |
Maurizio Pecoraro is a fashion house from FMD. |
Statements
Maurizio Pecoraro name-checked Irving Penn, Robert Mapplethorpe, and the South Korean painter Lee Ufan. He's clearly feeling arty for Spring, but his clothes retained a minimalism in keeping with the mood of this Italian season. His main idea was to use simple, unfettered shapes almost like an empty canvas. Ufan's Rothko-like blocks of color were splashed across tunic tees, and a print of Mapplethorpe's calla lilies extended down the side of a tank top and onto its matching Bermuda shorts or horizontally across the hems of both a coat and the dress underneath it. By contrast, a dress with allover three-dimensional plastic appliqués looked fussy, as did a black liquid jersey halter dress with jet beading at the neckline. For evening, tanks and skirts with deep bands of sequins on their tulip petal hems were a better fit with his cleaned-up vision.
23 September 2012
Maurizio Pecoraro staged a presentation rather than a runway show today. Those tempted to take a fresh look at the designer, either by the venue—the gorgeous eighteenth-century Palazzo Gallarati Scotti has never been used during Milan fashion week before—or simply by the easy-in, easy-out nature of the event, picked a good season to come back. The intimate, old-world setting suited the decorated aspect of these clothes. Pecoraro isn't a designer who sets the agenda, but he does have a lovely way with embellishment, as demonstrated by a cropped purple mohair jacket embedded with strands of tiny silver beads, or by a coat with a double lapel, the inner one printed with a subtle basket-weave pattern. A color-blocked jersey dress and the fur jackets with their on-trend combinations of fox, mink, and astrakhan indicate that he also has a good sense for where fashion is at.Maybe a shade too much so, though, when it came to the evening section of the collection. Pecoraro said he was influenced by Ang Lee's movieLust, Caution. But charming as they were, the flapper frocks with their bands of blue or bordeaux paillettes and in particular a V-neck tank dress with a frill below the bust were too strong a callback to Louis Vuitton's pre-fall collection.
23 February 2011
Maurizio Pecoraro said his Spring collection was influenced by Yves Saint Laurent and the recent exhibition of his work in Paris. That puts him squarely in the middle of things this season, which is a good, and not-so-good, place to be. The bad news first: Pecoraro is going up against bigger, better-funded brands, and it's difficult to compete with their access to quality fabrics and the craftsmanship of their ateliers. His suede fringe will have a hard time living up to Frida Giannini's at Gucci, and his crochets and gem-studded macramés tended to look more crafty than couture. The collection would've benefited from a lighter hand with the extras, not just when it came to the straw hats, neck corsages, hobo bags, and flower-strewn sandals, but also in terms of the layering, which sometimes added bulk and weighed down the silhouettes.On the plus side: Like Saint Laurent, Pecoraro can cut a mean pair of pants. We've seen plenty of high-waisted, flaring trousers this season, but few have managed to look quite so flattering on the derriere as his in white linen. He also took cues from the master on the casting front. It's almost unbelievable that fashion is still trying to figure out that lesson from YSL four decades later. Kudos to Pecoraro for the most diverse group of models this week.
22 September 2010
Maurizio Pecoraro had the dusty pales that have become a theme on the Fall runways. He trotted out a flurry of Mongolian lamb furs. He even did a mannish suit—-a really sharp-looking one, in double-breasted gray flannel with flaring, cuffed trousers. In his own subtle way, this designer usually figures out how to tap into the current mood. Should the international audience have checked back in with him this season (over-scheduled non-Italian editors and buyers tend to skip this show), they would've been quietly pleased by the tailoring Pecoraro put on the catwalk. Examples ranged from the boxy charcoal jacket and straight skirt edged in brown leather that opened the show to a herringbone coat-dress with a doubled lapel.The issue is that Pecoraro's not really a big statement guy. In addition to his suitings, which felt fresh, he muddled the message by showing a good many of the sequin shift dresses that have become a predictable element of his shows, along with suede flares and fur-embellished knitwear. Without a more precise point of view, he remains one of those overlooked Milan talents whose collection gets squeezed out by the city's manically busy schedule. It won't be easy catching everyone's attention again, but a more focused presentation would be a smart place to start.
25 February 2010
What a difference a summer in Sicily makes. Maurizio Pecoraro just bought a vacation home there, and as he put it, "You look at things with different eyes when you come back from holiday." His Spring collection was considerably lighter than his usual fare, not only in terms of its palette and silhouettes, but also the embellishments that are his raison d'être. He opened with a few draped cotton dresses and coats in shades of robin's-egg blue, lilac, and golden yellow inspired by the work of Swedish ceramic artist Stig Lindberg. Easy shapes followed: cowled tees, slouchy Bermudas, cardigan coats with rounded shoulders and wide, cropped sleeves. Later, the dusty pastels and some hits of bright fluoro showed up as a graphic floral print or as chiffon flower brooches on a pair of lovely whitewashed crepe de chine dresses (one to the knee with soft, relaxed volumes, and the other a skimmy halter gown). The evening portion of the show lacked the charm and originality of the daywear, but there was one exception. Namely, a strapless fringe dress, each strand of which was hand-embroidered; it had a winning personal feel.
25 September 2009
Maurizio Pecoraro is one of Milan's most baroque designers. He can't resist the romance of sequins, nor, ahem, the siren call of gold and silver Lurex. In a season of don't-mess-with-me biker babes, he really had a chance to drive home his uniquely frilled and furbelowed message—and the grand seventeenth-century Palazzo Litta, where his show was held, was well chosen to provide a helpful assist. A nail-studded charcoal gray suit and a black bubble coat with stiff ruffles curling down the front were among the most inventive pieces. But a strong hand with embellishments does not a cohesive statement make, and the clothes had a hard time living up to the extravagantly sumptuous setting. Until the finale, that is, when Pecoraro sent out a parade of models in sharp-looking tuxedo pants and embellished black or ivory blouses, each of them different and each a little gem.
28 February 2009
The opening lines of the Grace Jones tune "Slave to the Rhythm" could be heard at the beginning and end of Maurizio Pecoraro's show. "This is what Edith Piaf used to say: 'Use your faults, use your defects, then you're gonna be a star.' " Pecoraro may dance to his own beat, but he was certainly on trend sampling Jones (see D&G), and what's more, Milan came around this season to the sorts of embellishments the ever-romantic designer always favors: fringe, ruffles, and sequins by the truckload (here on vintage-looking sweaters, party dresses, and even underwear). So this should be his moment, right? Well, sort of. On the plus side, he also showed Spring's nudes and makeup colors in trompe l'oeil drapery prints. On the negative, the stylist's hand was too heavy with the jewelry—as if to make up for the lack of a clear message from the clothes. This time, at least, Pecoraro's here, there, and everywhere collection didn't have that star quality.
24 September 2008
You could call shrouding feathers in tulle and covering gem-bright Swarovski crystals with metal chains a concession of sorts to the so-called return of minimalism on the part of maximalist Maurizio Percoraro. But then again, probably not: It only meant more embellishments. When he wasn't busy embroidering his alpacas and bouclés—witness a standout pair of dresses with fringes of beads that swished back and forth as the models made their way down the runway—he was playing around with their volumes. The sleeves of one coat melted from the elbow to the wrist in softly undulating folds, while cocktail dresses came draped at the back or billowing with extra fabric.At times, the lavish beadwork and volume play, a big trend for several seasons now, gave this collection a been there, done that feeling. But it was not without its beautiful pieces: Take a sack dress and a similarly roomy coat, both patchworked with individually tie-dyed squares of silk velvet that had the subtle shadings of stained glass. Props to Pecoraro for doing what he believes in.
20 February 2008
Maurizio Pecoraro's never been one to hold back his artier inclinations. Jackson Pollock, this time, was the source of the very literal abstract-expressionist purple-and-blue splatter print that appeared on an off-white pantsuit and was translated into 3-D embroidery on another jacket. There were shades of Rothko, too: In the finale, models wearing hand-painted silk dresses lined up in a tableau against large colored panels, forming a striking visual composition—undermined, somewhat, by the fact that Vera Wang plumbed Rothko's rich archive some seasons ago, and to more subtle effect.That was the trouble with this collection. Pecoraro's artsy indulgences—for instance, Native American feather jewelry and a fringed suede poncho worn with, of all things, cuffed turquoise cotton trousers—got the better of him. If there's a link between modern art and American Indian costume, it's not an obvious one. There were some real, wearable clothes out there, like the pretty party dresses in this season's jewel tones, but the aesthetic disconnect proved distracting.
25 September 2007
Maurizio Pecoraro makes it his business to keep an eye on the way the fashion winds are blowing. Mixed in among his twist-front dresses, full trousers, and a check suit were bugle-beaded shells and matching skirts, slouchy varsity cardigans, sack coats, and other twenties references that started appearing in New York two weeks ago.Short-sleeve jackets came with deep fur cuffs, necklines were trimmed with gem-studded chiffon, and waists were loosely cinched with velvet bows. One short fur jacket looked like it had been dipped in liquid gold. Pecoraro steered the heavily ornamented collection away from becoming a predictable Poiret revival, though, by keeping the silhouettes fresh. For instance, a satin tunic dress topped by a trompe l'oeil velvet cardigan (they were in fact attached) was abbreviated at the upper thigh. But in the end, the models' too-literal marcel waves and red lips gave the pretty clothes a vintage feel, when what they needed was a modern edge.
18 February 2007
Was Maurizio Pecoraro's spring show a case of trickle-down cross-seepage, or just plain déjà-vu? Anyone who had already studied Marc Jacobs' show—i.e., everyone with an eye on the latest news—would have clocked a certain similarity between Pecoraro's curvy runway on stilts and something MJ had built just a couple of weeks ago. As for the clothes that were shown on it, they rang bells, too: some originally pealed by Marni, others by Prada, with the top notes layered on by Jacobs himself.Marc-meets-Marni is an accurate enough reading of where the light-and-layered, beige-and-linen trend is going this season. And Pecoraro's pieces—brown cotton raised-waist smocks over dresses over leggings, sometimes topped with linen swing dusters—captured all that. Some of these, finished with hand-tucked bodices and vintage-looking lace, even had a personal feel. Too often, though, the overreferential styling and presentation ended up drowning out any individuality he might have to offer.
24 September 2006
Inspired by the idea of a Japanese garden, Maurizio Pecoraro showed a serene spring collection in shades of gray, ivory, and black. Jovita blossomed in a dress of hand-dyed and embroidered flowers with aged Swarovski crystals on tulle. A fan of embellishment—the more three-dimensional the better—he replicated the effect of broderie anglaise with crystals, sequins, and studs. Elsewhere, puffed and then crushed drop sleeves had the tactile appeal of overripe peonies.Pecoraro has a special talent for coats, which he showed worn loose and open for spring. Standouts included one in a daisy-print panne velvet with linen collar and hem, as well as the flower-trimmed styles, one of airy ivory macramé. A jersey dress with velvet stripes was unexpectedly sporty, even tied with a flower belt. In this collection, as in any garden, however Zen, there were prize blooms as well as weeds, and it would have benefited from some bonsai-style editing.
26 September 2005
Maurizio Pecoraro has a proven talent for delving into the romantic and folkloric, using a good deal of delicate handcraft to produce pretty, vintagey effects. But now that the peasant hordes are fast disappearing over the fashion horizon, he’s turned to a new source of inspiration: the op art ’60s.The opening shots were all knitwear, done in bright, sporty stripes and patterns and shown with fluorescent makeup. Then came shifts, spangled with circles of sequin and paired with silver go-go boots, followed by Bridget Riley–inspired optical prints and details like appliqu¿d plastic rings. Pecoraro isn’t exactly going out on a limb, since many designers are plumbing the geometrics and plastics of the early ’60s for ideas. But it is a tough one to pull off with conviction, and the designer’s collection looked better when he reverted to the softer femininity of the silver sequin, applied to floppy chiffons, which came out at the end of his show.
26 September 2002