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from http://www.style.comPARIS, March 2, 2005 – Vincent Darré, making his ill-judged debut chez Ungaro, promised to evoke the early glory years of the house, established in 1965 by Emanuel Ungaro after he left an apprenticeship at Balenciaga and was collaborating with the brilliant textile designer Sonia Knapp. The most cursory delve into Ungaro's archives would reveal a master colorist who embraced the space-age sixties, turned to Ballets Russes-inspired hippies deluxe in the seventies, reflected the overdecorated opulence of the eighties, and rediscovered an ethereal lightness of touch in the nineties. Instead of modernizing this great legacy, Darré clung to a palette of crude primaries and eye-popping brights. He opened with funnel-collar jackets and ballooning kimono coats fastened with an evening gown's obi drape that certainly nodded to Ungaro's work as Balenciaga's tailor, although clam-digger pants were an unsuccessful accompaniment. A baby-doll dress in black bubble lace with appliqués of white mink daisies provided another faint echo. From there, the show careened downhill, however, and further experiments with the season's pouffy volumes sunk like overcooked soufflés. Even Darré's Diva draperies—a signature of the house for decades—looked clumsily cobbled together and would have shamed any self-respecting couturier.
When the designer’s erudite octogenarian uncle is left to his own devices among the fashion hordes, themselves being denied entry to a show well past the invitation hour, you know the house has a problem. But that’s what happened to Jorge Semprun, uncle to Vincent Darré, newly installed at Emanuel Ungaro.
It’s long been rumored that the Ferragamos would love to divest themselves of Ungaro. Whether that’s true or they still expect to grow the business themselves, they must come to grips with a two-part problem: One, this is a house in disarray, and two, its designer clearly lacks the power of fashion resurrection.
Is there somebody in charge, making decisions, charting a course — much less, making sure there’s someone available to help an old man to his seat? Paolo de Spirt was brought in as chief executive officer a while back, but he’s a financial and operations guy, and fashion is more than a numbers racket. Upon the exit of a longtime designer, especially the house founder, any company has to grapple with some basic questions. Does the house still reflect the founder’s philosophy and aesthetic? If so, are they still relevant? And depending upon those answers, how do we evolve or reinvent?
For some time now — well before the Ferragamos pulled the plug on the couture, thus finalizing Emanuel Ungaro’s exit — chez Ungaro has been wrought with problems, problems addressed, it seems, with mere Band-Aids. But the Band-Aid approach doesn’t work, especially when hiring a designer. Darré debuted with what can kindly be called a doozy of a collection — a big-bowed, kimonoed, geometric, green-eye shadowed, plastic-shoed marvel of confusion. But that’s almost beside the point. While his efforts gave little indication that he’s the person to jump-start a successful reinvention, the matter of designer succession is only one glaring problem for this house in apparent free-fall.