How Fausto Puglisi's Sicilian Roots and Pop Culture Obsession Took Him to the Top Role at Roberto Cavalli

"Everything I did was about taking risks."

In our long-running series "How I'm Making It," we talk to people making a living in the fashion and beauty industries about how they broke in and found success.

Fausto Puglisi always had a sense that he'd end up in fashion. The evidence is in his childhood journals, which outline his real estate dreams for future stores, down to the street numbers. But what made him enamored with the craft wasn't so much the traditional runway (though, it certainly had an impact on him, growing up in Italy and learning among Sicily's world-renowned tailors): It was the pop culture he was obsessed with from a young age, which inspired him to move to New York by himself, to try to make his dreams come true.

Though he's been designing since he was a teenager — he even brought samples of his first collection to show stylists, editors and other artists in New York — Puglisi really started to gain recognition for his one-off designs in the 2000s, when stylists like Patti Wilson and Arianne Phillips started pulling his pieces for their famous clients (lke Madonna? Ever heard of her?). He began his namesake label in earnest in 2010, and went on to work for Emanuel Ungaro from 2013 to 2017. In October 2020, he took over another iconic Italian house: Roberto Cavalli. His first collection debuted that February.

Puglisi's work has, throughout his career, remained exuberant, expressive and proudly vibrant. He's drawn to sharp cuts, revealing silhouettes, bold patterns and bejeweled embellishments — all contributing to a storied canon of Italian fashion, and making him well-suited to take on the job of bringing Cavalli into a new era.

Ahead, we talked to Puglisi about his earliest influences, moving to New York (and meeting the people that would change the course of his career), what drew him to the Cavalli gig and more.

Tell us about your interest in fashion. Where does it come from?

I'll tell you the truth: American culture, pop culture — it has amused me since I was a kid. When I was very, very young, of course, I was very, very fascinated by fashion gods like Yves Saint Laurent, Karl Lagerfeld, Gianni Versace and Thierry Mugler. But, in such an incredible way, TV series like 'Miami Vice' and icons like Michael Jackson, Whitney Houston, Prince and Elton John was so [inspiring].

[Los Angeles hotel] Chateau Marmont, to me, is connected to illusion, desperation, dream, which are three of the elements of our society, that each of us fight with. Michelle Pfieffer, as well as "American Gigolo" and El Dorado and the pictures of Helmut Newton — they all have such a deep meaning for me... I wasn't dreaming about Paris: I was dreaming about New York and L.A. at the time.

I've always been fascinated by my first essence, which are my roots: Sicilian. When I was a kid in Sicily, and I was very deeply Sicilian. But at the same time, like so many Sicilians, I wanted to escape. And the biggest escape was the American dream, and it's translation through fashion... It wasn't, 'I want to dress celebrities' — I admire artists, which is different. It's about working with artists. It wasn't about celebrities, but about translating the music and movies I was obsessed with through fashion.

I've always been an outsider... I've never been part of a clan. I've been always been myself, very alone. I don't know why, but this is the truth, and I'm big enough now to accept this. Everything I did was about taking risks.

What made you know from a young age that fashion was the avenue you wanted to pursue, to do this?

I was in Sicily for Christmas, and I found one of my diaries from when I was young. In school, they give you something to write [what you want to be when you grow up] — I said, 'I want to be a designer. I want to be like Giorgio Armani and Gianni Versace.' There was another one where I was putting a list of the streets where my stores had to be: Fausto Puglisi via Monte Napoleone 2, Milan; rue Saint Honoré 25, Paris; 1200 Madison Avenue, New York... I saw that and started laughing, because it was so silly. I was such a dreamer. At the same time, it was like, 'Oh, Fausto, you knew already what you wanted to do, very clearly.'

Once you knew you wanted to be a designer, what steps did you take to make that dream happen? 

When I was a mature enough — so let's say 13 — to understand the study direction, I studied Greek and Latin literature, classical literature, which was really beautiful. At the same time, I spent my time at the tailoring [ateliers] between Messina and Catania, in a beautiful place near Taormina called Acireale. I started to learn with the classic Sicilian tailors, who are amazing... It's all about proportion, strength and knowledge. It was what I really liked to do. It was about learning.

When I decided to move to New York, I prepared a small collection to bring [with me]. When I look back at my past... I never had doubts. I mean, stupid people don't have doubts. But at the time, I was so secure. It was mechanical, like, 'Okay, now you do this. Now you do your collection. Go to New York. Call my cousin at Tribeca Grill to find a place as a waiter. Then meet Patti Wilson, because I want to show her the collection.' To me, it was obvious.

What happened once you moved to New York?

I started working the first day I arrived. My cousin left me in front of the Flatiron building; he was listening to 'September' from Earth, Wind and Fire. I saw him [recently] and he said, 'I was sure that this guy coming to New York from Sicily was going to leave after two days, because he's gonna be full of fear — but, no, Fausto, your eyes were embracing the city.' I love this word, 'embrace.' I love to embrace people, projects, cities. I love that he said that, because, yes, I fell in love with this city since day one.

Who were the people you met in New York that ended up being instrumental in your career?

I was obsessed with two people: [Paper editor] Mickey Boardman and [painter] Donald Baechler. I remember I met them both the same day. [Baechler] did this work for me [portraying] Madonna in the cover of Elle and Pamela Anderson wearing my clothes. It was very pop. When I look at that [piece of art], I say, 'Oh my God, this artist's approach is incredible.'

Nothing was pre-thought. I wasn't saying, 'I'm going to Mickey because I want to be in Paper.' No, Mickey, to me, was a magician, and Donald was a firework. I had this sense of inspiration. I wanted to meet them because I wanted to express my love for them. I never talked about money. I was happy to be a waiter. I wanted to be a part of building their imagination.

What do you consider to be the biggest milestones of your career?

Again, I'm an outsider. When people I respect, like Suzy Menkes or Manuela Pavesi or Ingrid Sischy, came to a Fausto Puglisi show and supported the collection, it was fantastic... There's something connected not to narcissism, but to being an outsider and being very alone in my choices, because I wasn't part of a big group or protected...

The big moments are connected with the beginning of my career and to people like J.Lo, Madonna, Taylor Swift — people that want me because they want me; not because it's marketing, but because there's a dialogue. It's about human relationships.

To be at the Victoria & Albert Museum as the only up-and-coming designer from my generation next to Gianni Versace, Dolce & Gabbana and Miuccia Prada [at the "The Glamour of Italian Fashion" exhibition] was amazing.

When I decided to have people from jails [model his first men's collection at Pitti Uomo for Spring 2017], because I believe in the second chance, and now that's something we're talking about; women's empowerment... I look back at things I did, and I think it was fantastic that I had the feeling to do that. It's not about ego. I'm happy because I love this job, and I love to build something connected to what I believe in.

Now, you're the head of an iconic Italian brand. What drew you to the role at Roberto Cavalli?

In Italian fashion, we have big moments, connected to a kind of flamboyance, starting with Walter Albini in the seventies and then Gianni Versace, Dolce and Gabbana, Roberto Cavalli — these are the brands connected with this sexiness, Hollywood, music, loud...

What I like is also that the new generation, who grew up with Mariah Carey and Destiny's Child, they're so connected to the Roberto Cavalli roots. I took the brand at a moment when nobody was talking about it. I'm extremely, extremely happy about it. It was the big Sicilian challenge.

What are you most proud of in your work for Roberto Cavalli thus far?

That my work [makes] sense. Otherwise, you would never interview me.

That people like Doja Cat, Lizzo, FKA Twigs connect [with it], because superstars connected to Cavalli in the past also... That's fantastic, because I'm trying to work with classicism, but move this brand in a different direction.

People want to feel loyalty when you do something. When you listen to Prince — he was extremely loyal. He was a king, but was loyal to what he was doing with his music. The same thing with Led Zeppelin, The Ramones, David Lynch. I'm very loyal with my point of view.

This interview has been edited and condensed for clarity.

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