A traveller, as it is the prerogative of all islanders, prone to the cultural mismatch of the sons of a land where different influences mingled over the centuries, merging into a rugged and layered heritage, Fausto Puglisi, born in Messina, Sicily, began his career in the USA. A passion for image- making and an appreciation for the precision of tailoring, combined with the urge to prove himself despite the difficulties, took him overseas, armed only with enthusiasm and classical studies. In New York, his work was soon appreciated and photographed by renowned stylists and image-makers. He shortly entered a virtuous circle, creating costumes for celebrities such as Jennifer Lopez and Whitney Houston, and selling his collection – a bunch of iconic separates – to Maxfield store in Los Angeles after winning the interest of Sarah Stewart. Other shops followed swiftly, but the real turning point occurred elsewhere: in Italy, in 2010, when Domenico Dolce and Stefano Gabbana involved him in the innovative project Spiga 2.
Having his line displayed in the Milano concept store gave momentum: a fashion house made of eroticism and energy was born. The style credo is maximalist with minimalist dryness, or rather, minimalist with a maximal tingle. The perfection of the tailoring soon attracted the media: while making clothes for real women in Milano, Fausto Puglisi became part of the global showbiz scene. He has created the costumes for Nicki Minaj and M.I.A. at Madonna’s Super Bowl halftime show in 2012, for example. In the same year, he has been appointed artistic director of the maison Ungaro, debuting in Paris in March 2013. In October 2013, for the first time, his namesake collection was presented with a catwalk show in Milano.
The Apollonian and the Dionysian, excess and purity meet in a graphic bacchanal in the work of Fausto Puglisi. His style combines opposing elements in a tense harmony: baroque opulence and inexorable rhythm of optical art; sex appeal and severity; heroism and stardom; shyness and boldness. Omnivorous, Puglisi chases a timeless and ageless ideal of beauty as character, fusing opposite impulses in an incisive trait.
Fausto Puglisi loves hyperboles because he avoids compromises. The dry, masculine touch brings femininity to an nth, in a short- circuit in which sexual electricity does not exclude absolute aplomb. “Fashion as desire” is his message: glossy, yet visceral.