Fausto Puglisi has found much success in the fashion world after only a few years. ‘The only way to survive in this business is to fight the boundaries, to be yourself.’IMAXTREE
I was standing on Bloor Street West recently when Toronto philanthropist and fashionista Sylvia Mantella emerged from a limousine in an arresting outfit. I was stunned to see her dressed so opulently in the early afternoon, until I realized she was headed into Holt Renfrew to fete the creator of her ensemble, Italian designer Fausto Puglisi.
Frequently compared to the late Gianni Versace, Puglisi has been turning heads in international fashion circles since launching his own label in 2010. A red carpet favourite, the 39-year-old Sicilian-born designer is especially proficient at costume design, collaborating closely with pop icons such as Madonna (he designed pieces for her Super Bowl halftime show in 2012) and Katy Perry. And just a couple of years ago, he also took the creative reigns at the house of Emanuel Ungaro. I caught up with Puglisi before he presented his trunk show at Holt Renfrew to talk about his obsession with fashion, his authenticity and his very big ego.
Technology has changed the way we communicate and the pace of our lives. Has it changed how we think about what we wear?
I think so. I think we should just stop for a second and think more about beauty.
Because everything is so fast, there's that risk to become all mass market and I don't like mass markets, you know what I mean?
But unfortunately the fashion business is becoming so much about mass market.
When I say mass market, of course I'm all about the democracy of everything, so I'm not talking about the chance for the people to have something.
You're not a snob.
No, not at all. But what's important is that we should start thinking that fashion is a celebration of beauty. It's not just about 'make clothes, make clothes, make clothes,' you know? Because for that, there is a mass market. There are amazing companies that make fantastic pieces. But for a designer, it is extremely important to concentrate on beauty.
Yes, but you have to create clothes that are also accessible.
What I do is to start from the streets and go to the royalty. Royal and real – I like to mix both sides. I like to think about a girl in suburbia and I like to think about Queen Elizabeth.
We were at a boring moment in fashion and then suddenly, there were all these rumblings about you. But you're not an overnight success. You've been working hard at this for quite a long time.
Yes. I decided to be a designer when I was a kid. So I was five years old and I used to sketch. I had this incredible grandfather who brought me to his tailor in Sicily. It was very classic, and we chose the fabrics together. Then I went back home, finished my studies and started sketching, sketching, sketching and designing and working with fabric. In Sicily, we are all obsessed with fashion. I mean, that was the big moment of Gianni Versace or the first Dolce & Gabbana collection – it wasn't about conceptualism. It was about showing off. 'I'm rich. I'm a bitch. I'm sexy. I'm glamorous. I can afford whatever I want!'
Very in-your-face.
In-your-face, yes. So then I moved to America after my studies. I mean, it's part of being Italian. Italians want to go out and then to come back. I'm proud of my roots but I felt that need to go to America, so I moved to New York. I had no money. I was a waiter at the Tribeca Grill. And I did a collection of 10 or 15 pieces because I wanted to sell in America. I remember the first time I came to sell my clothes at Saks. I arrived on the fragrance floor and said, "I want to sell my clothes here. Who do I have to talk to?" I didn't know about the structure, about the buyers, about all this stuff. And the guys there said, "Baby, this is not the place to sell this stuff! It's a department store, okay?" My big break came when I met Madonna's stylist, Arianne Phillips, and another great celebrity stylist, Patti Wilson, who was styling Britney Spears. They gave me a great chance. And then I moved back to Italy to try and make it in Milan. But it was very, very hard. And it wasn't until Dolce & Gabbana offered to buy a small collection from me and present it in their store that things really changed.
Celebrities love what you do because there's such a level of theatricality to the clothes. How has it been for you working with some of these big egos?
It's normal for me. I did the Super Bowl with Madonna, Nicki Minaj and M.I.A. And it was all about Bulgari, Givenchy and me. So think about two big monsters and me – just an upcoming designer. That was a fantastic chance. I love Katy Perry and have done two costumes for her. And now I have a big new project with Rita Ora. But it's normal for me. And by that I mean that I'm very authentic with them. I like fashion so much, so celebrities are fantastic because they want to look the most stunning, and I want to make things for them to look stunning in. And I want to kill all the other competitors!
You want to be the only one.
I want to be the only one! But I respect them all. And I want to learn from other designers. But at the end of the day I have a big ego, and it excites me to work with these amazing artists who have something incredible to say. It's an honour to be with them. They are incredible artists. They perfectly represent the pop culture, and I'm obsessed with pop culture.
Well, you seem to be very confident about your vision. Do you ever worry about the business swallowing you up?
Listen, I believe that we already have everything in fashion. If you are new, you have to propose something that you trust deeply in. You can't compromise. Why do we need new designers? Only if they communicate something strong. And a black dress can be strong, too. But it has to be something you trust in.
Do you ever doubt yourself?
A lot. But at the end of the day, you have to be strong. You have to want to please yourself. Never think about pleasing someone else. And then if you please yourself, you please everybody.
This interview has been condensed and edited.