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About Ralph Pucci International - Mannequins, Furniture and Art

Ralph Pucci

Ralph Pucci International is a high end mannequin, lighting and furniture showroom based in New York City.

Over the years, Ralph Pucci has developed a relationship with fashion designers, illustrators and supermodels. These collaborations produced new innovative and avant-garde collections that changed the mannequin industry. Collaborators included Ruben Toledo, Anna Sui, Maira Kalman, Christy Turlington, Veruschka and Kenny Scharf and created the likeness of Diane von Furstenberg for the 40th anniversary exhibit of her iconic wrap dress.

The Furniture division developed over the years with top interior designers beginning with Andree Putman and including Patrick Naggar, Paul Mathieu, Vicente Wolfe, Chris Lehrecke, Vladimir Kagan, Jens Risom, Herve Van der Straeten, Eric Schmitt, Jim Zivic and others.

Lighting designers include Lianne Gold, Ted Abramczyk and Michael Anastassiades.

Pucci intergraded art with design by featuring artists including Manuel Gerrinck, Jeff Quinn, Marcus Leatherdale, David Story and Deborah Turbeville.

Today, Ralph Pucci is considered the best of the best in the high end fields of mannequins, lighting, furniture and art. The Markopoulos Award, the highest honor in the Visual Merchandising Industry, was given to Pucci. Interior Design said “Pucci is One of the Best of the Year in Interiors, Architecture, Fashion and Design” and was chosen “The Best Furniture Gallery in New York” by Manhattan Magazine, ‘The Best in Furniture and Furnishings” by Robb Report and “The Best Showroom” by Wallpaper. In 2013 Ralph Pucci was honored by Inner City Arts in Los Angeles. He also serves on the board of Pratt Institute.

The books, SHOW and WALL, about the history of Pucci are available on line or at the Pucci Showroom
 

Ralph Pucci International


N.Y. 44 West 18th Street, New York, N.Y. 10011
212-633-0452

L.A. 8687 Melrose Avenue-B203, West Hollywood, Ca. 90069
310-360-9707

Miami. Wynwood Art District, 343 NW 25th, Miami Fla. 33127
305-438-3771

10 Questions with Ralph Pucci

Ralph Pucci
Interior Design recently caught up with Ralph Pucci at his New York City showroom where he was celebrating the launch of his new book “Wall'. The designer talked to us about what inspires him, who he admires and his career trajectory from mannequin manufacturer to modern art and design aficionado.

ID: Is there one piece of furniture or art you’d like to have in your home but don’t?

RP: I have a Herve Van Der Straten piece in the showroom that doesn’t fit [in my home]. For lack of a better word, it’s a console with mirrored sides and red lacquered feet. It’s so modern, so the future, but not tricky or trendy. It’s one of one, and it’s just too big.

ID: Who are the people you admire the most or who have influenced your work?

RP: I love Jim Zivic’s industrial chic spirit. He has lots of unique ideas, and he uses unexpected materials too complicated to copy. And I met Patrick Naggar through Andrée Putman. Each of Patrick’s collection is unique, quality furniture that’s under appreciated in the world. I’d put him up there with anyone on the top list of furniture designers.

ID: Andrée Putman designed mannequins for you, then asked you to represent her furniture. How did that come about?

RP: She loved the way we did presentations. I always saw mannequins and furniture as sculpture, which needs space, a room to look at. Other dealers put 100 pieces in a showroom I’d fill with 20.

ID: Where do you draw your design inspiration from?

RP: Listening to music is a big part of my creative process. I listen to jazz, R&B, rock, and see furniture and mannequins.

ID: What projects are you working on?

RP: We’re just putting to bed the new book [“Wall']. The book is only $30 so kids at Pratt and FIT can look at it, buy it, and maybe think, “One day I’m going to drop off something, or design a mural for Pucci.'

ID: With 20 years of options, how did you select the installations featured in “Wall'?

RP: When you hit it, you really know it. These are the best. When you look back, a lot of things look dated. This book looks fresh because all the work in it is timeless. My portrait, with that Armani suit, is the only picture that does not hold up.

ID: You’re known for your aesthetic sensibility, so how did you know the physical, manual part of design was not for you?

RP: From when you’re a kid you know. I can’t even put a nail in the wall. I never casted or sprayed or even packed a mannequin, but I was in the factory a lot, looking at invoices and orders. I’m a promoter, an explorer.

ID: What do you do to relax?

RP: I sit by my pool, or the ocean. And I spend most of my time in museums and galleries. I love DIA- Beacon, and MASS MoCa, and Berlin has one gallery better than the next.

ID: Is there one moment in your career that stands out as particularly rewarding?

RP: There are many. Meeting and creating with Andrée Putman … Christy Turlington too. Maira Kalman revolutionizing the mannequin world. Working with Vlad Kagan. Seeing David Weeks go from a tiny booth at the furniture fair to a 30,000-square-foot space in stride with the greatest designers. And the Pratt paper project—two kids are in [my] new book. Imagine in 20 years when they look back and see themselves there.

ID: What’s a mistake common to young designers, something they need to overcome to succeed?

RP: Trying to do too much; trying to be Marcel Wanders or Philippe Starck. Be aware of what the great designers are doing but don’t copy. Find a unique voice. And don’t play too many notes. Less is more.

By Sara Pepitone

An Interview with Ralph Pucci

Ralph Pucci
Ralph Pucci is a fascinating man and by some standards might be considered a Renaissance Man of the 21st century - or at least a patron of the arts of our times. Also, he is truly a child of the Display/Visual Merchandising industry since he was literally reared in an environment of forms, figures and fantasies. Back in the 1950s when Ralph Pucci was quite young, his family established a niche as the repairers and rehabbers of mannequins. In 1976 Ralph not only claimed his independence but he also took over the reins of his family business and a new era began not only for Pucci Mannequins but for the industry that now preferred being referred to as the Visual Merchandising industry.

Ralph Pucci quickly created a furor in the new industry when he started introducing mannequins in lifestyle and athletic poses that captured the essence and spirit of the Calvin Klein ads and the photography of Bruce Webber. 'We kept very much in the mood of those avant garde times. We set ourselves apart by spraying mannequins black or red and took a far more architectural approach by producing mannequins reclining and relaxing. And, we've always encouraged artists and creators I to be involved in our process to keep our vision fresh.'

Since the beginning Ralph Pucci has invited in and surrounded himself with artists, sculptors, illustrators and designers who have created new and exciting lines of mannequins and forms. Among the top talents he has worked with are designers such as Karl Lagerfeld, Anna Sul and Andree Putnam, illustrator Kenny Sharfe and Reuben Toledo and many leading models in their day.

His collections have run the gamut from realistic to idealistic - from fantasy to fun.

But mannequins were not enough for the exquisite taste and the entrepreneurial talents of Ralph Pucci. Today, his 16,000 sq. ft. showroom on West 18th Street in Manhattan is not only filled with tastefully displayed forms and figures but in the gallery-like settings he presents furniture -'new classics' - sculpture, fine art, graphics and specially selected artifacts. His showroom not only draws people from the visual field but store designers and decorators as well.

With that as an introduction-let us let Ralph Pucci speak for himself.

MARTIN M. PEGLER: How has the mannequin industry changed since your parents started the Pucci Mannequin Company over 50 years ago?

RALPH PUCCI: When I started in this business 30 years ago, most of the mannequins were realistic in very lady-like poses, wigs, make-up, nail polish-very safe and predictable.

Over the years there has been the opportunity to be more creative. The Visual industry encourages us to 'think outside of the box' and be different. I work with the best fashion illustrators, models, photographers and artists in the world to create unique, well sculptured modern mannequins that reflect a hip society of today.

MMP: You have reached out to artists, sculptors and designers to create the endless 'looks' and 'types' of mannequins that Pucci produces. What do you look for when you commission/create/design a new mannequin?

RP: I look for newness. Something hip, hot and of the moment.

MMP: Are the mannequins in your collection in any way a representation of your own design sensibilities or do you do them for their commercial value?

RP: My mannequins are my design sensibility but I am a businessman. MY role is to create and present exciting mannequins that are reflective of the time we live in.

MMP: Retailers are now talking about the Retail Brand Image. Mannequins have always been part of that 'branding.' As a mannequin manufacturer as well as someone who has been in the retail industry for many years-what kind of mannequins-realistic, stylized, abstract - are most effective for creating that 'image'? Who might best invest in which kind of mannequin?

RP: A store has to decide who they are and what they are trying to achieve. They should choose a mannequin that is consistent with that particular image. I think Diesel has a very clear idea of who they are.

Their advertising, store design and clothing are fun and hip, but they miss big time on their mannequin presentation. They use a headless mannequin - very boring! I have a mannequin designed by the illustrator, Jeffrey Fulvimari - he recently illustrated the Madonna children's book 'English Rose.' This mannequin would be perfect: hip, young, edgy and groovy-just like the Diesel image.

MMP: What advice would you offer to a 'mom 'n' pop' retailer - one with a small store with maybe one or two windows - regarding selecting a mannequin? What would be best for him or her? How many types? How often should they be changed? How does he keep his presentations looking fresh, new and still distinctively his?

RP: A mom 'n' pop shop should keep it very simple. It all depends upon the merchandise the store sells, of course. Again - what does that store stand for and represent?

Pick a mannequin that fits this design philosophy. To keep fresh I would buy an abstract mannequin and repaint the mannequin color every three months. Repaint the walls in the window. Hook up with the best young students from the design schools to create windows even have them create product and sell it in limited editions.

MMP: Where do you see realistic mannequins today? What is the 'look'? What changes do you see in the near future?

RP: I think the realistic mannequin is a dinosaur! It looks dated even in the best store environments. It is a very tired look no matter how well executed it is.

MMP: What do you visualize a realistic mannequin will look like in 10 years?

RP: Realistic mannequins in 10 years will look the same as they did 30 years ago-boring!!

MMP: Do you see 'animated' or 'robotic' mannequins - with programmed actions - in the future?

RP: I find 'robots' cold and impersonal. I prefer the warmth, simplicity and beauty of artists/sculptors such as Brancuzzi, Noguchi and Giacometti.

MMP: I understand that Pucci has done specific mannequins based on runway and photographic models as well as celebrities - Jose Barain, Aly Dunne, Ank Duong, Franke, Verushka, etc.

- as well as noted personages for special museums and exhibits. Do you think that there is a strong draw towards models or celebrity characters in realistic mannequins - in traditional retail settings? Do they add to or subtract from the Retail Brand Image?

RP: It is all about the time we live in. What is happening in fashion-artarchitecture. A fashion model/mannequin can be outdated and pretentious if shown at the wrong time. I think it was fun in the late '80s - the supermodels.

That's over! We recently did a mannequin of Christy Turlington in Yoga positions - I believe that was relevant. Christy has championed this movement and she has become synonymous with healthy living, exercise and Yoga.

MMP: What brought about your production of Lowell Nesbitt's 'Male of the 21st Century'? I read that it was inspired by Rodin's 'Age of Bronze' and Michelangelo's 'Slave.' Where do you see it being used and how?

RP: The Lowell Nesbitt mannequin was my answer to photographer Bruce Weber's beefcake boys that were being promoted in all the magazines. I thought the whole thing was a bit funny actually, but when I commissioned the painter Lowell Nesbitt - who was very famous at that time for his giant flower paintings - the collection took on a more sculptural tone; a more athletic spirit. The mannequin was inspired from ancient Roman and Greek sculpture. We were making daily visits to the Metropolitan Museum of Art.

We sandblasted the finish - giving it cracks as though it had been outside for thousands of years. I even had Christopher Makos photograph the collection to look like a museum brochure. ls it relative today? Classic sculpture is always relevant.

MMP: Tell me about your work with Ruben Toledo. What does his talent bring to the creation of new mannequins?

RP: Ruben Toledo is a creative genius and a visionary. I do not use these words loosely. He is the leader in the fashion/art world. His mannequin ideas are 'way ahead of the curve' - yet very 'now'.

MMP: Everybody - it seems - is focused on the teen-to-twenties market. Pucci has introduced several lines of stylized mannequins that are targeted directly at that group. How do you see them as unique and where and how do you think they are best used?

RP: The teens/twenties market wants hip and groovy - and you better give it to them.

MMP: Baby Boomers are not 'old' - yet they are not 'young compared to the 'teens to twenties' and 'twenties to thirties' markets that seem to be getting all the play. Do you feel that retailing has gone far enough to reach out to the 'Fifties and Over' crowd? Can't a 50-ish mannequin be produced that is mature but still youthful and vital? Is there a real market for that sort of mannequin-or would you suggest that the retailer stick with a stylized or abstract mannequin for that customer?

RP: I addressed the 50-ish market with a mannequin by the illustrator Robert Clyde Anderson. I called it the Brownstone collection. It was a group of characters that live in an elegant brownstone building. There was the publicist, the banker, gallery owner and the advertising executive. The ages varied from 30 to 60 - but they were modern.

MMP: Tell me about 'Birdie.' Who or what inspired you to produce this size 16 figure. What kind of acceptance has she had? Are you planning any other 'larger size' women? Men?

RP: I have an affinity towards classics: well-made, timeless pieces in wonderful materials. The furniture designers that I represent all believe in quality-hand-made not massproduced.

RP: Birdie was designed by Ruben Toledo. She was size 16-a big but hip girl. The collection was called 11 shapes.' We teamed her up with Paloma - a very petite mannequin in the collection. Stores almost hide big girl clothes. To introduce them, we put ten Birdie and Paloma mannequins in the entrance to our showroom dressed in skin-tight Isabel Toledo clothing. Latin music played and Ruben painted a black and white mural. It was very hot and sexy - something you usually do not associate with big and petite girls. It was a hit!

MMP: Do you, personally, have a special affinity for the Art Deco and Moderne periods? Pucci International now includes - in addition to the numerous mannequin lines, furniture and furnishings by outstanding designers. Pucci has the exclusive rights to the French Ecart Collection that features authentic reproductions of Pierre Charreau and Jean Michel Frank as well as furnishings by Paul Mathieu, Patrick Haggar, Chris Lehrecke and Jerome Abel Sequin among others.

Some of us are old enough to remember the sensation caused when you had Andree Putman produce the Olympian Goddesses that appeared in Barneys windows in the late '80s or early '90s. Now Putman has produced several collections of furniture for Pucci. What's the connection between mannequins and furniture and furnishings? Or isn't there any?

Andree Putman has been a major influence on my life and career. 'The Poison Pill' is her reference to the one extra ingredient added to a presentation that is not necessary. Keep it simple, clean, pure and strong. I always refer to 'the poison pill.'

I remember the opening of the first mannequin she designed for me - the Olympian Goddess in 1986. It was one of the hippest openings our industry ever had. Andy Warhol, Keith Haring, Jean-Michel Basquit showed up from the art world. Angela Estrada, Thierry Mugler from the fashion world-models and editors from all the magazines. It was fun and amazing. It opened my eyes. I had to work with these creative people.

About furniture and mannequins? The connection between furniture and mannequins is the ability to create and explore a clear vision. Furniture should be simple, timeless and beautifully crafted. Mannequins should be elegant, modern, edgy and hip. Art should make you think!

MMP: How do you personally keep up with the times and the trends and still see ahead to what will be coming up next? What or who keeps you abreast of the changing times? What is your 'fountain of youth'?

RP: I'm not afraid to take chances. I'm constantly encouraging and promoting young designers, illustrators, photographers. You have to let the creative mind speak and be heard!

MMP: Many, many thanks for your declarations, revelations and for sharing your thoughts with us.

BY MARTIN M. PEGLER

Hotel Ralph Pucci Concept

Hotel Ralph Pucci

Hotel Ralph Pucci : A Synthesis Of Art, Architecture, Furniture & Style



View the Hotel Ralph Pucci Concept Website

What happens when you put fabulous architects, furniture designers, lighting designers, rug designers, artists, photographers and interior decorators under one roof? You get a stunning new hotel: Hotel Ralph Pucci. An LXR Hotel.

LXR Luxury Resorts & Hotels has signed a potential concept deal with esteemed furniture design gallery owner Ralph Pucci to develop the first Hotel Ralph Pucci. The Georgetown Inn will undergo a transformation and debut as the new 96-room, and be the first of its kind in a unique collaboration between a design visionary of Ralph Pucci’s reputation and a stable of highly-respected designers of furniture, lighting and rugs, along with noted photographers.

Ralph Pucci never set out to run the country's best modern furniture gallery,but a post-college foray into his parents' mannequin business led to a meeting with French design legend Andree Putman...and he was hooked. Every three months, Pucci fills his New York and L.A. showrooms with the work of international talent such as Putman, Patrick Naggar, Vladimir Kagan, Jens Risom and Paul Mathieu, among others.

Originally known for his innovative and visionary mannequin collaborations with world famous illustrators, fashion designers, pop artists and super models, Ralph Pucci later added furniture and art to his repertoire, representing design legends Andree Putman, Vladimir Kagan and Chris Lehrecke, building his business into the country’s leading modern furniture gallery. With the potential launch of the hotel, Pucci will be introducing his modern design vision and philosophy of discovering “the new and the next' in the heart of Georgetown.

“For the hotel design, every aspect of the hotel from the rooms to the public spaces will be custom-designed and reflect a new philosophy. The hotel will be elegant, modern and timeless,' said Ralph Pucci.

For this exclusive LXR Luxury Resorts & Hotels Ralph Pucci property, Pucci has created the broad design concept and has selected architect/designers Pilar Proffitt and Robert Bristow to bring this vision to life. Proffitt and Bristow will design the facade, lobby, restaurant, guest rooms and baths, and will furnish these spaces and one floor of guest rooms.

Pucci has selected five of his artists to provide the furniture for each of the guest room floors. These designers include Robert Bristow's 'warm minimalism', Jens Risom's 'mid-century modern,' Patrick Naggar's 'modern luxury,' Paul Mathieu’s 'sculptural elegance', and Christophe Delcourt's 'tomorrow’s classics'.

Hotel Architecture:
We are aiming for a quiet architecture that reflects this spirit and provides a quiet backdrop for the furniture, photography and people that live in these spaces.
Robert Bristow and Pilar Proffitt

Born and raised in Richmond, Virginia, Robert holds a Bachelor of Arts from the University of Virginia and Master of Architecture degree from Virginia Polytechnic. Upon receiving his Masters in Architecture, he landed a prized job as chief assistant in the office of the legendary Paul Rudolph, the father of Neo-Brutalism. Ironically, he moonlighted in another office, that of Aldo Rossi. Several years later, Robert moved to Boston to work in the architectural studio of Peter Forbes, one of the foremost practitioners of minimalist architecture.

While working in these offices, Robert set up his workshop and began crafting his own furniture ideas. The furniture he made attracted attention and was purchased outright by several high-end design stores in New York. As a high-end retail network evolved in the US, Europe and Asia, the furniture found it's way into some of the finest collections in the United States. Robert joined Ralph Pucci May of 2004.

Patrick Elie Naggar is a French artist, architect and designer who received his degree in Architecture (UPLCi) from the Ecole des Beaux Arts and a Masters degree in Urban Studies from the University of Paris. Naggar considers architecture as a central knowledge, encompassing interior design, furniture design a catalyst of the ideas, forms, plastic and artistic trends in order to create objects and spaces for our environment in the spirit of our times. Patrick joined Ralph Pucci in 1997.

One of the first designers to bring the traditional Scandinavian values of function and craftsmanship to the United States, Risom was part of a new vanguard that helped establish post-war America's leadership role in the world of modern furniture design and manufacturing.

Born in Copenhagen on May 8, 1916, Risom was highly influenced by his award-winning architect-father who encouraged Jens to pursue academic studies in business and contemporary design. After completing two years at the Business College of Niels Brock in Copenhagen, Risom worked briefly for Danish architect Ernst Kuhn and he created several furniture designs for Gustav Weinreich of A/S Normina in Copenhagen. Risom's early designs for Normina were shown at the Cabinetmakers Guild Exhibition in 1937.
Jens Risom joined Ralph Pucci in 2005.


French born, Christophe Delcourt graduated Cours Florent, Paris in 1988, and in 1989 studied at the Theatre Ecole du Passage. With a keen interest in designing furniture and objects, Delcourt opened his first studio in the Marals area of Paris in 1998. Since then, he has designed for restaurants, hotels and boutiques and has exhibited furniture and lamps at Joyce Gallery in Paris.

In 2001, Ralph Pucci International became the exclusive representative of Christophe Delcourt Designs.

French designer, Paul Mathieu, based both in New York and Aix-en-Provence, exhibits his signature style in his furniture collection for Ralph Pucci International.

Mathieu is a progressive designer who gained his reputation through both his international interrior design projects, as well, as, his product designs for companies such as Ecart.

An unmistakable benchmark is evident in the graceful and elegant modernism infused in Mathieu's work. His furniture combines the unassuming harmony of nature, blending sinuous curves with tailored geometry. Mathieu's designs combine richness and depth of woods with the comfort of upholstery and with detail. This results in a refined statement of clean, luxurious simplicity.
Paul joined Ralph Pucci in 1999.

Art:
All of the photographers work will be displayed on different floors in a collaboration with each of the distinctive designers in pairs presenting Jens Risom with Christopher Makos, Christophe Delcourt with Antoine Bootz, Robert Bristow with Paul Solberg, Paul Mathieu with Gail Leboff and Patrick Naggar with Diego Uchitel.

Christopher Makos studied architecture and worked as an apprentice with the artist, Man Ray, in Paris. Since the early 1970s, he has developed a unique style of boldly graphic photojournalism. He is the author of two books: White Trash (1977) and Warhol: A Personal Photographic Memoir (1988).

His works have appeared in magazines such as Rolling Stone and Esquire. He served as a contributing photographer to Warholís Interview magazine and was a close friend to Andy Warhol. Presently, Makos maintains an active photography studio in Manhattan, hosts an interview show, Makostyle, for television in New York, and exhibits his photographs, prints, and paintings widely throughout the United States and Europe.

Paul Solberg: Paul studied Anthropology in Cape Town, South Africa, and worked on a land conservation project in Bophuthatswana. Solberg’s photographs have been published in Publisher’s Weekly, Ocean Drive, Elle, Home Miami, Lucky, and European publications, View of The Times, Vanidad, Alter Ego, among others.

Paul’s work has also been shown in New York and throughout Europe from: Ralph Pucci (New York), Young Gallery (Brussels), Flo Peter’s Gallery (Hamburg) and most recently at Paris Photo with Galerie Baudoin Lebon (Paris), and ARCO art fair in Madrid.

Antoine Bootz' talents earned him simultaneous success in both the fine art and commercial photography worlds. He has enjoyed many solo and group shows of his photography in his native Paris, France and his adopted home, New York City.

At the same time he has had the opportunity to work on advertising campaigns and editorial projects for Calvin Klein, House & garden, La Redoute, and many other prestigious clients. He is repped by Judy Casey.

Gail LeBoff was born in Brooklyn New York and currently lives and works in Vermont and New York. She is the recent recipient of the prestigious Louis Tiffany Biennial Award. Her work has been exhibited extensively and is in many major collections such as the Harvard Museum, Norton Museum, and Brooklyn Museum.'

Gail Leboff's photographs are large-scale mysterious landscapes. They are quiet and mesmerizing. Whether of swans in a winter stream or birds in migration these images call you back again.'

Argentinean born photographer Diego Uchitel moved from Buenos Aires to the United States after high school to attend film school and eventually found his true calling. He has been photographing the world's most beautiful subjects for twenty years.

Uchitel is renowned for his elegantly arresting photographs. His work is often described as less photographic and more painterly. You can contact him via his rep, Jed Root.

Madeline Weinrib, a New York city based artist, has been designing carpets since 1998. She is the grand-daughter of Max Weinrib, the founder of ABC Carpet & Home. Weinrib studied fineart at Marymount College, New York, and has exhibited her work at New York's De chiara/Stewart Gallery and at Art in General. She has served on the faculty of City College in New York city, where she has taught drawing. Her paintings have been on view at Glenn horowitz Gallery in East Hampton, NY.
Madeline joined Ralph Pucci in 2006.

David Weeks originally from Athens, Georgia, attended the Rhode Island School of Design to study painting and sculpture and where he earned and MFA in 1990. Weeks moved to New York City where he worked as an associate to jeweler Ted Muehling in his Soho store. In 1996 he founded the Brooklyn based David Weeks Lighting studio. Since the studios inception, his product line has grown from desk lamps, sconces and ceiling fixtures to include floor lamps, elaborate chandeliers and mobiles. Merging industrial materials and organic forms, David Weeks lighting draw influence from eclectic sources such as mid-century European modernism, machine age industrial design and kinetic sculpture.

David Weeks designs are marked by an uncommon attention to detail and evocative materials: spun aluminium and steel, oxidized metals, porcelain shades and silk covered electrical cords. Especially notable are his large scale mobiles.

To add to the distinctive design elements on property, Ralph Pucci will also collaborate with menswear designer, TOMER to design all hotel uniforms, inspired by the jazz greats of the 1950’s. Additionally, Hotel Ralph Pucci will display the works of a different artist, rotating every 4 months, in the lobby of the property.

Project: Hotel Ralph Pucci
Budget: Estimated $25,000,000.00
Scope: Provided Technical Services and Owner Representation for the organization & construction of 3 model guestrooms & corridor. Compete coordination of overall budget presentation which included OS&E, Uniforms and total hotel concept conversion from the Georgetown Inn to the Hotel Ralph Pucci.

View the Hotel Ralph Pucci Concept Website

12 Things He Can't Live Without

Hotel Ralph Pucci

Elle Decor October 2009


'There is no formula,' remarks visionary entrepreneur Ralph Pucci about his design philosophy. The same could be said of the man's career, now the subject of show, a recently released book. Pucci-who conquered the furniture industry by unlikely way of his family's mannequin business-continues to surprise design fans with daring projects, including his latest: a chair by longtime collaborator Vladimir Kagan made of the same fiberglass as the firm's dynamic store dummies.

The 25,000-square-foot Ralph Pucci International showroom in New York City serves not only as a gallery but also as a contemporary salon. 'The space attracts so many creative people,' he says, including his expanding roster of cutting- edge painters, sculptors, designers, and furniture makers. 'You need a wow factor, but it should come from the quality,' he adds. 'I look for strength and simplicity.' Far from tracking trends, Pucci draws inspiration from the constants of his everyday life, whether the 'deceptively plain' pastas at his favorite restaurants, Da Silvano and Basta Pasta; the graceful movements of athletes; or the inimitable Miles Davis. 'Jazz is timeless,' he says. 'Furniture, too, should be of the moment - but lasting.'

1. A 5:30 A.M. swim before work, the perfect way to start the day. When it gets cold, I switch to the treadmill.

2. A great NBA game. Any one featuring Kobe Bryant or LeBron James will do.

3. Family vacations: Christmas in Barbados, summers in Italy.

4. Visiting museums. Two favorites are the Dia in Beacon, New York, and the Noguchi Museum in Queens, both in amazing industrial spaces.

5. The music of Miles Davis, Muddy Waters, and Keith Richards - and the Village Vanguard, the best jazz club in the world.

6. A good biography. I just finished reading one of Francis Bacon.

7. Men's clothing by Gianluca Isaia - modern but not trendy.

8. Jean-Michel Frank Furniture.

9. The art galleries in Berlin. They prove you don't need money to create a unique scene.

10. Chateau Marmont in Los Angeles. The hotel has soul that cannot be duplicated.

11. The sculpture of Constantin Brancusi and Henry Moore.

12. A 1986 Cartier watch my wife gave me on our tenth anniversary. I wear it every day.
By Samuel Cochran

Statement

Hotel Ralph Pucci

 


Mannequins, Furniture, Art. At first thought most people do not see the correlation. My vision though is very clear. To let the creative mind speak and be heard.

My role at Pucci is to put together a team of the most innovative designers, illustrators, artists and photographers. to exhibit and sell their work which has been designed exclusively for RALPH PUCCI in a pure, exciting, uncompromised, luxurious way. I am not interested in the mass produced product. I want the hand of the artist to be seen and experienced.

Furniture should be simple, timeless and beautifully crafted. Mannequins should be elegant, modern, edgy and hip. Art should make you think.

Through a consistent, clear and creative message: exhibitions, advertising, marketing and professional salesmanship this vision is slowly being understood. I believe there is an audience that is begging for something unique, fresh and original. something of exceptional quality, something that will grow in value over the years, something that will be cherished.

Commercially speaking, the creative voice has been silenced by short term financial goals. At Pucci I am committed to giving the artist his true artistic stage. The team I have put together: Andree Putman, Ruben Toledo, Maira Kalman, Anna Sui, Stephen Sprouse, Chris Lehrecke, David Weeks, Josef Astor, Kenny Scharf, Christy Turlington to name just a few, are all visionaries. They are leaders not followers. I have been fortunate to appreciate and understand this unique talent and deliver their message to a broader audience.