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|death_place = Paris, France
|label_name = House of Emanuel Ungaro
|awards = [[Legion of Honour|Legion d'Honneur]]
|website = [http://www.ungaro.com/ www.ungaro.com]
|}}
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==The House of Emanuel Ungaro==
At the age of 22, Ungaro moved to Paris. Three years later he began designing for the House of [[Cristóbal Balenciaga]]<ref name="Grdn"/> for three years before quitting to work for [[André Courrèges|Courrèges]]. Four years later, in 1965 with the assistance of Swiss artist Sonja Knapp and Elena Bruna Fassio, Ungaro opened his own fashion house in Paris.<ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Bergdorf's Shows Its Pick of Paris Couture |journal=The New York Times |date=1965-09-13 |page=41 |url=https://www.nytimes.com/1965/09/13/archives/bergdorfs-shows-its-pick-of-paris-couture.html |access-date=2023-08-07 |quote=Emanuel Ungaro is this season's successor to Courrèges...}}</ref>
 
During the mid- to late 1960s, Ungaro was known as one of the [[Space Age#Arts and architecture|Space Age]] designers, along with [[Andre Courrèges]], [[Pierre Cardin]], [[Paco Rabanne]], [[Rudi Gernreich]], Jean-Marie Armand,<ref>{{cite web |title=Jean-Marie Armand |url=http://coutureallure.blogspot.com/2011/03/jean-marie-armand.html |website=Couture Allure |access-date=2021-12-21 |date=2011-03-08}}</ref> and [[Diana Dew]], creating ultra-modern, futuristic clothing of stark simplicity consisting of flaring, [[Miniskirt#1960s|mini-length]] garments<ref>{{cite book |last1=Mulvagh |first1=Jane |author-link=Jane Mulvagh |title=Vogue History of 20th Century Fashion |date=1988 |publisher=Viking, the Penguin Group |location=London, England |isbn=0-670-80172-0 |page=295 |chapter=1967 |quote=...Courrèges, Rabanne and Ungaro...refused to give up the long-legged, short-skirted mode.}}</ref><ref>{{cite journal |last1=Doonan |first1=Simon |author-link=Simon Doonan |title=Zee Future Fashion Eez Cool! Ungaro, Gernreich Still Cut It |journal=The New York Observer |date=2001-10-01 |url=https://observer.com/2001/10/zee-future-fashion-eez-cool-ungaro-gernreich-still-cut-it/ |access-date=2022-01-24 |quote=I...begged [Ungaro] to decode the enigma of space-age chic and to explain why he, of all people, abandoned the cause. 'Ze space-age look was very short-lived. It was not comfortable...,' said the couturier....'Courrèges et moi...work[ed] for Balenciaga....Balenciaga was obsessed with cut and structure and architecture....[W]e chop 20 centimeters off the skirt, and, voila, le space age'.}}</ref> of geometric shape in welt-seamed<ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Saint Laurent, Valentino, Ungaro: 3 Avenues to High Fashion |journal=The New York Times |date=1970-09-18 |page=60 |url=https://www.nytimes.com/1970/09/18/archives/saint-laurent-valentino-ungaro-3-avenues-to-high-fashion.html |access-date=2021-12-01 |quote=Any Ungaro follower would have quickly recognized the familiar touches — lots and lots of flapped patch pockets on coats and suits; welt seaming, and rounded, set‐apart collars or loopy, notched lapels.}}</ref> double-faced wools, synthetics, plastics, and metals worn with high boots, helmets, visors, and chrome and plastic jewelry.<ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Saint Laurent, Ungaro and Dior: Many Styles, No New Look |journal=The New York Times |date=1970-07-24 |page=37 |url=https://www.nytimes.com/1970/07/24/archives/saint-laurent-ungaro-and-dior-many-styles-no-new-look.html |access-date=2021-12-04 |quote=Emanuel Ungaro...advocate of clean-cut tailoring and space-age fashions...}}</ref><ref>{{cite book |last1=Howell |first1=Georgina |author-link=Georgina Howell |title=In Vogue: Sixty Years of Celebrities and Fashion from British Vogue |date=1978 |publisher=Penguin Books Ltd. |location=Harmondsworth, Middlesex, England |isbn=0-14-00-4955-X |pages=298–299 |chapter=1967-68 |quote=Ungaro...with 'another leap into space' – Here, his yolk yellow canvas coat, blue pleat dress, and thigh-high Vinyl boots.}}</ref><ref>{{cite book |last1=Mulvagh |first1=Jane |author-link=Jane Mulvagh |title=Vogue History of 20th Century Fashion |date=1988 |publisher=Viking, the Penguin Group |location=London, England |isbn=0-670-80172-0 |page=242 |chapter=1957-1967 |quote=The face was the key to the fashionable look: be it...the false eyelashes, silver metallic wig and frosted pink lips of Courrèges's or ...Ungaro's space girl...}}</ref><ref>{{cite book |last1=MulvaghHis |first1=Janedesigns |title=Voguewere Historysaid ofto 20thbe Centurystrongly Fashioninfluenced |date=1988by |publisher=Viking,former theemployer Penguin Group[[Andre Courrèges|location=London, England |isbn=0-670-80172-0 |page=295 |chapter=1967 |quote=...Courrèges, Rabanne and Ungaro]]...refused to give up the long-legged, short-skirted mode.}}</ref><ref>{{cite journalbook |last1=DoonanBlackwell |first1=SimonBetsy Talbot |author-link=Betsy Blackwell |title=ZeeThe FutureAmerican FashionPeoples EezEncyclopedia Cool!1966 Ungaro,Encyclopedia GernreichYearbook: StillEvents Cutof It1965 |journalpublisher=TheGrolier New York ObserverIncorporated |datepage=2001-10-01231 |urlchapter=https://observer.com/2001/10/zee-future-fashion-eez-cool-ungaro-gernreich-still-cut-it/ |access-date=2022-01-24Fashions |quote=ICourrèges...beggeddid [Ungaro]not toshow decodea thecollection enigma of space-age chic and to explain why he, of all people, abandonedin the cause. 'Ze space-age look was very short-lived. It was not comfortable...fall,' saidbut thehis couturier....'Courrègesformer etassociate moi...work[ed]Ungaro for Balenciaga....Balenciaga was obsessed with cut and structure and architecture....[W]e chop 20 centimeters offworked the skirt,same and, voila, le space age'vein.}}</ref> His designs were said to be strongly influenced by former employer [[Andre Courrèges|Courrèges]].<ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=The Ultimate Luxury |journal=The New York Times |date=1981-08-30 |page=206 |url=https://www.nytimes.com/1981/08/30/magazine/the-ultimate-luxury.html |access-date=2022-03-06 |quote=Emanuel Ungaro..offered softer versions of the Courrèges look in the mid-1960's.}}</ref><ref>{{cite journal |last1=Emerson |first1=Gloria |author-link=Gloria Emerson |title=The Unchanging Mme Gres and the Mischievous Mr. Capucci |journal=The New York Times |date=1966-07-31 |page=F46 |url=https://www.nytimes.com/1966/08/01/archives/the-unchanging-mme-gres-and-the-mischievous-mr-capucci.html?searchResultPosition=1 |access-date=2023-05-30 |quote=...Ungaro's adaptation of Andre Courrèges's ideas always look like a photograph slightly out of focus. He has a new squared silver boot designed by Roger Vivier, and the models...wear a silvery nylon...wig...}}</ref>
 
His womenswear designs of the 1970s were noted for their exuberant mixing of colorful prints.<ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Cardin Makes Styles Look Like Fun Again |journal=The New York Times |date=1971-01-27 |page=42 |url=https://www.nytimes.com/1971/01/27/archives/cardin-makes-styles-look-like-fun-again.html |access-date=2022-01-23 |quote=He mixes up fast assortments of polka dots, stripes and simple, child‐like flowers in the same outfit, the way Creole women do, or joyful peasants anywhere. It goes like this: flowered shirt, striped pullover, dotted pants.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=From Ungaro – Fashion Show Worth the Wait |journal=The New York Times |date=1972-07-27 |page=36 |url=https://www.nytimes.com/1972/07/27/archives/from-ungaro-fashion-show-worth-the-wait.html |access-date=2022-01-23 |quote=Ungaro's compelling interest is fabric design. He likes geometric patterns in multitudinous colors. He used to mix them up so much that you didn't know where to look, but this time, he has put everything together properly.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Ungaro – The Liveliest Styles So Far |journal=The New York Times |date=1973-04-05 |page=56 |url=https://www.nytimes.com/1973/04/05/archives/ungaro-the-liveliest-styles-so-far-the-chemise-idea-one-in-velvet.html |access-date=2022-01-23 |quote=He mixes colors and patterns with a painter's eye....Ungaro never misses. His checks, squares and circles go together beautifully.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Couture Scorecard: Good is Quite Good |journal=The New York Times |date=1973-07-28 |page=28 |url=https://www.nytimes.com/1973/07/28/archives/couture-scorecard-good-is-quite-good-special-cachet.html |access-date=2022-01-23 |quote=Emanuel Ungaro runs a close second [to Yves Saint Laurent] in interpreting contemporary clothes, playing down intricacy of detailing and playing up remarkable prints that have a modern art look.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Stop Me If You've Heard This |journal=The New York Times |date=1974-01-30 |page=20 |url=https://www.nytimes.com/1974/01/30/archives/stop-me-if-youve-heard-this-wide-wide-dresses-slingback-shoes.html |access-date=2022-01-23 |quote=There were all his multitudinous prints, more floral now than geometric, dancing all over everything in sight.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Crahay Turns Paris into a Celebration |journal=The New York Times |date=1977-07-27 |page=55 |url=https://www.nytimes.com/1977/07/27/archives/crahay-turns-paris-into-a-celebration-the-designer-raised-his-arms.html |access-date=2022-01-23 |quote=His prints have always been exceptional and, as usual, he alternates between geometric stripes, checks and plaids on the one hand and delicate flowers on the other.}}</ref> He experimentedhelped withinstigate athe fewdecade's silhouettescharacteristic andlayered styleslook in the early part of the decade1971<ref>{{cite journalbook |last1=MorrisSweetinburgh |first1=BernadineThelma |title=Fashion |journal=The New1972 YorkCompton Times |date=1977-02-27 |page=211 |url=httpsYearbook://www.nytimes.com/1977/02/27/archives/fashion-the-renaissance-of-haute-couture-fashioncont.html |access-date=2022-01-23A |quote=EmanuelSummary Ungaro...canand beInterpretation ultraconservativeof onethe season,Events wildof and1971 woollyto theSupplement next...}}</ref><ref>{{citeCompton's journalEncyclopedia |last1publisher=MorrisF. |first1=BernadineE. |title=SaintCompton LaurentCo., UngaroWilliam and Dior: Many Styles, No New LookBenton |journal=The New York Times |dateisbn=19700-0785229-24169-8 |page=37249 |urlchapter=https://www.nytimes.com/1970/07/24/archives/saint-laurent-ungaro-and-dior-many-styles-no-new-look.html |access-date=2022-01-23Fashion |quote=ThereAn wasimportant no question buttrend that heParis wascouturier tryingEmanuel andUngaro nothelped putting anyone onlaunch. Pretty often, he hit the mark.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |title=Stop Me If You've Heard This |journal=The New York Times |date=1974-01-30 |page=20 |url=https://www.nytimes.com/1974/01/30/archives/stop-me-if-youve-heard-this-wide-wide-dresses-slingback-shoes.htmlwas |access-date=2022-01-23the |quote=...[T]helayered moodlook of Ungarogarment seemsover vaguely fortyish (the date, not the age)garment...}}</ref> before settling in to the voluminous, layered, peasant-based styles known as the [[1970s in fashion#The Big Look or Soft Look|Big Look or Soft Look]] that dominated high fashion from 1974 to 1978,.<ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=At Paris Shows, the Fabric is Flowing |journal=The New York Times |date=1974-04-03 |url=https://www.nytimes.com/1974/04/03/archives/at-paris-shows-the-fabric-is-flowing-special-to-the-new-york-times.html |access-date=2022-02-10 |quote=...Ungaro...has the voluminous look, the long sweaters, the flowered skirts and the Cossack boots that constitute the main fashion news at the moment.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Fashion Talk |journal=The New York Times |date=1974-09-19 |page=48 |url=https://www.nytimes.com/1974/09/19/archives/the-long-skirt-still-another-round-fashion-talk.html |access-date=2022-01-23 |quote=Long skirts have been pretty much accepted in European fashion circles for six months or so, but even in European fashion circles, Emanuel Ungaro's are a bit extreme. They usually stop at the middle of the calf, or descend even longer. He generally pairs them with loose, smock‐like tops and the skirts themselves are rather voluminous.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=The Layered Look |journal=The New York Times |date=1975-09-19 |page=22 |url=https://www.nytimes.com/1975/09/19/archives/the-layered-look.html |access-date=2022-06-22 |quote=The pile‐it‐on movement is in high gear over at...Emanuel Ungaro...Among his most majestic layerings were a raincoat over a tweedy coatdress over a silk dress....[C]oats topped two print dresses, worn one over the other. More familiar layerings involved sweaters, battle‐jackets and pants or skirt....Hemlines were an inch or so longer than most [US] fashions.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Fashion: Paris Report |journal=The New York Times |date=1976-08-15 |page=179 |url=https://www.nytimes.com/1976/08/15/archives/fashion-paris-report-peasant-luxe.html |access-date=2022-01-23 |quote=Ungaro['s]...peasants romp around in quilted jackets, pleated skirts and loose tunics...}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=In Paris, Serious Undertones in Fashion's Superbowl |journal=The New York Times |date=1977-10-24 |page=48 |url=https://www.nytimes.com/1977/10/24/archives/in-paris-serious-undertones-in-fashions-superbowl.html |access-date=2022-01-23 |quote=Ungaro concentrated on pretty flowered clothes, very soft and summery.... Everything was big and billowy...}}</ref> Ungaro's print mixtures fittingfit well into the period's multi-layer esthetic.<ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Chanel and Courrèges Show the Timelessness of High-Fashion Design |journal=The New York Times |date=1975-07-30 |page=25 |url=https://www.nytimes.com/1975/07/30/archives/chanel-and-courreges-show-the-timelessness-of-highfashion-design.html |access-date=2022-01-23 |quote=[Ungaro's] layers are...in the lightest weight woolens in muted shades of beige or gray. The patterns don't match exactly; they blend.}}</ref> He didn't adopt the big [[Shoulder pads (fashion)#Fall 1978|Fall 1978]] change to [[1970s in fashion#Shoulder Padspads|big shoulders]] and narrow skirts<ref>{{cite book |last1=Larkin |first1=Kathy |title=1979 Collier's Yearbook Covering the Year 1978 |date=1979-01-01 |publisher=Crowell-Collier Publishing Company |pages=249–252 |chapter=Fashion |quote=In women's fashion, 1978 was a year of great change. It began with women submerged under layers of soft shapeless clothing...But the year ended with the same women shedding layers to emerge with a revamped fashion silhouette reminiscent of the 1940's, a look characterized by broad, even padded shoulders, tight waistlines, and shorter, straighter skirts....[D]esigners in Milan, Paris, and New York showed fall ready-to-wear collections that almost simultaneously reached the same conclusion....broad-shouldered fashions, the pared-down look of fewer layers, and the neater waist...huge shoulders, puffed sleeves to emphasize width further...[T]he fashion message was clear: Broad shoulders were in.}}</ref> until 1979,<ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=No More Skirting the Issue, Dresses Have Come Back |journal=The New York Times |date=1978-02-18 |page=28 |url=https://www.nytimes.com/1978/02/18/archives/no-more-skirting-the-issue-dresses-have-come-back.html |access-date=2022-01-23 |quote=Emanuel Ungaro...has sent...advance hints of his styles for next fall....Ungaro uses [a brushed silk shirt] as part of a layering plan that involves a matching vest. a skirt in the same fabric but a blending print, and a couple of sweaters....But Mr. Ungaro hasn’thasn't forgotten about dresses. One of the prettiest a loose style in flowery wool challis...}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Paris: A Peplum and Puffed Sleeve Revival |journal=The New York Times |date=1979-07-25 |page=C16 |url=https://www.nytimes.com/1979/07/25/archives/paris-a-peplum-and-puffed-sleeve-revival.html |access-date=2022-01-23 |quote=Ungaro['s] jackets had...peplums and...puffy shoulders.}}</ref> but during the 1980s he would reach a pinnacle of success and influence with his versions of it.
 
Ungaro entered perhaps his most influential period in the 1980s, as he interpreted the era's aggressive, [[Shoulder pads (fashion)#1980s|broad-shouldered]] women's silhouette<ref>{{cite journal |last1=Donovan |first1=Carrie |title=Fashion: Feminine Flourishes |journal=The New York Times |date=1985-03-31 |page=80 |url=https://www.nytimes.com/1985/03/31/magazine/fashion-feminine-flourishes.html |access-date=2022-03-09 |quote=Karl Lagerfeld..., Yves Saint Laurent, Emanuel Ungaro and Hubert de Givenchy...continued with their versions of the rather aggressive broad-shouldered silhouette...}}</ref><ref>{{cite journal |last1=McCall |first1=Patricia |title=Fashion Preview: Paris |journal=The New York Times |date=1983-03-20 |page=60 |url=https://www.nytimes.com/1983/03/20/magazine/fashion-preview-paris.html |access-date=2021-12-15 |quote=As for Emanuel Ungaro, nothing is quite so seductive as a skinny sheath tucked under a big-shouldered jacket or coat. 'It is this contrast of wide on narrow that I love,' he says.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |title=Ungaro's Bright Palette Lights Up Couture |journal=The New York Times |date=1986-01-29 |page=C1 |url=https://www.nytimes.com/1986/01/29/garden/ungaro-s-bright-palette-lights-up-couture.html |access-date=2022-04-04 |quote=...[J]ackets tend to have large rippling lapels as well as very broad shoulders and peplums over the hips.}}</ref> with Edwardian-style<ref>{{cite journal |last1=Morris |first1=Bernadine |title=Affluent Fans Breathe New Life Into Paris Couture |journal=The New York Times |date=1984-07-31 |page=C12 |url=https://www.nytimes.com/1984/07/31/style/affluent-fans-breathe-new-life-into-the-paris-haute-couture.html |access-date=2022-03-17 |quote=Emanuel Ungaro's updated, sexy Edwardian clothes...}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |title=Saint Laurent Dominates Couture |journal=The New York Times |date=1984-01-31 |page=C12 |url=https://www.nytimes.com/1984/01/31/style/saint-laurent-dominates-couture.html |access-date=2022-03-17 |quote=Ungaro's draped Proustian look, updated with above-the-knee hemlines, looked sexy or old-fashioned, depending on the point of view...}}</ref> shirring, ruching, draping,<ref>{{cite journal |last1=Cunningham |first1=Bill |title=Fashionating Rhythm |journal=Details |date=1988-03-01 |volume=VI |issue=8 |page=120 |publisher=Details Publishing Corp. |location=New York, NY |issn=0740-4921 |quote=Emanuel Ungaro['s]...designs display a burning desire for draping the body in search of perfect beauty.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |title=Ungaro's Bright Palette Lights Up Couture |journal=The New York Times |date=1986-01-29 |page=C1 |url=https://www.nytimes.com/1986/01/29/garden/ungaro-s-bright-palette-lights-up-couture.html |access-date=2022-04-04 |quote=Ungaro is responsible for this season's dominant dress shape: tightly draped through the torso and flounced a bit at the hem.}}</ref> and his trademark eye-catching prints<ref>{{cite journal |last1=Morris |first1=Bernadine |title=The Grandeur of Paris |journal=The New York Times |date=1982-08-29 |page=220 |url=https://www.nytimes.com/1982/08/29/magazine/the-grandeur-of-paris.html |access-date=2022-03-16 |quote=Emanuel Ungaro is as responsible as anyone for the current tendency to mix one glorious material with another - or with five or six more - in the same design. His astonishing medleys of satin, lace and wool, or of several different prints in the same outfit, have brought him acclaim. His fabric mixes have also spurred other designers to follow suit.}}</ref> to create a voluptuous, very feminine, even coquettish look<ref>{{cite journal |last1=Morris |first1=Bernadine |title=Paris Pick-Me-Up from Valentino |journal=The New York Times |date=1985-03-27 |page=C1 |url=https://www.nytimes.com/1985/03/27/garden/paris-pick-me-up-from-valentino.html |access-date=2021-12-04 |quote=[A]t the Emanuel Ungaro show...models sauntered down the runway in short silk satin dresses, in myriad prints, all draped to the body. They were seductive dresses, a bit too suggestive...}}</ref> that was highly popular with the public.<ref>{{cite journal |last1=Horyn |first1=Cathy |title=The Fall of the House of Ungaro |journal=The New York Times |date=2010-08-20 |url=https://www.nytimes.com/2010/08/22/t-magazine/22well-ungaro-t.html |access-date=2021-11-27 |quote=[M]any people know Ungaro because it was prominent in the '80s and '90s. If you were a snooty boutique owner in Dallas or New York and you couldn't sell an Ungaro dress with the drapery pouring over the breasts and thighs like butter on a hot ear of corn, you had no business being in retail. Men loved a woman in an Ungaro dress, it was said, because the style and the vibrant colors made them imagine what she had on underneath in a way that an Armani pantsuit did not and, further, what they might do with this thought.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |title=The Ultimate Luxury |journal=The New York Times |date=1981-08-30 |page=206 |url=https://www.nytimes.com/1981/08/30/magazine/the-ultimate-luxury.html |access-date=2022-03-06 |quote=The hot collection of the season is that of Emanuel Ungaro...Americans are now flocking to his salon, not only to see the clothes, but to buy them. Even the French agree that his are the most satisfactory...}}</ref><ref>{{cite journal |last1=Cunningham |first1=Bill |title=To the Future Through the Past |journal=Details |date=1989-09-01 |volume=VIII |issue=3 |page=219 |publisher=Details Publishing Corp. |location=New York, NY |issn=0740-4921 |quote=...Ungaro was continuing to drape dresses and cut suits, giving his designs an international influence greater than any other Paris couturier.}}</ref><ref>{{cite news |last1=Luther |first1=Marylou |title=Fashion |newspaper=The Washington Post |date=1985-10-24 |url=https://www.washingtonpost.com/archive/lifestyle/1985/10/24/fashion/d5a70038-eac5-4e43-880c-e3bdbfeccd4e/ |access-date=2022-03-09 |quote=Emanuel Ungaro, who started the bodice-shirring trend two years ago, continues to refine this look that's now being copied all over the world. As anyone who's ever worn one of these drape-front dresses can tell you, the shirring allows freedom of movement in even the narrowest of dresses.}}</ref>▼
 
Ungaro launched his first menswear collection, Ungaro Uomo, in 1973, and his first [[perfume]], ''Diva'', 10 years later in 1983. Ungaro was a participant in [[The Battle of Versailles Fashion Show]] held on 28 November 1973. Later followed the perfumes ''Senso'' (1987), ''Ungaro'' (1991) and ''Emanuel Ungaro For Men'' (1991). In 1996, he formed a partnership with [[Salvatore Ferragamo]].<ref name="Grdn"/><ref>Amy Barrett,▼
[https://www.wsj.com/articles/SB868486541517534000 Ferragamo's Expansion Will Test Family Values], ''Wsj.com'', 10 July 1997</ref> In 1997, Ungaro, Ferragamo and [[Bulgari]] created a new company: Emanuel Ungaro Parfums. The new perfumes to follow were ''Fleur de Diva'' (1997), ''Desnuda'' (2001) and ''Apparition'' (2004).
 
In the late 1970s, fashion journalist [[Michael Roberts (fashion journalist)|Michael Roberts]], when opening a Sunday column in ''[[The Times]]'', said "Emanuel Ungaro has a great charm. He wears it around his neck."<ref>Willian Norwich,
[http://observer.com/1998/03/michael-roberts-author-of-the-jungle-abc/ Michael Roberts, Author of The Jungle ABC], ''Observer.com'', 23 March 1998</ref>
 
▲Ungaro entered perhaps his most influential period in the 1980s, as he interpreted the era's aggressive, [[Shoulder pads (fashion)#1980s|broad-shouldered]] women's silhouette<ref>{{cite journal |last1=Donovan |first1=Carrie |author-link=Carrie Donovan |title=Fashion: Feminine Flourishes |journal=The New York Times |date=1985-03-31 |page=80 |url=https://www.nytimes.com/1985/03/31/magazine/fashion-feminine-flourishes.html |access-date=2022-03-09 |quote=Karl Lagerfeld..., Yves Saint Laurent, Emanuel Ungaro and Hubert de Givenchy...continued with their versions of the rather aggressive broad-shouldered silhouette...}}</ref><ref>{{cite journal |last1=McCall |first1=Patricia |title=Fashion Preview: Paris |journal=The New York Times |date=1983-03-20 |page=60 |url=https://www.nytimes.com/1983/03/20/magazine/fashion-preview-paris.html |access-date=2021-12-15 |quote=As for Emanuel Ungaro, nothing is quite so seductive as a skinny sheath tucked under a big-shouldered jacket or coat. 'It is this contrast of wide on narrow that I love,' he says.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Ungaro's Bright Palette Lights Up Couture |journal=The New York Times |date=1986-01-29 |page=C1 |url=https://www.nytimes.com/1986/01/29/garden/ungaro-s-bright-palette-lights-up-couture.html |access-date=2022-04-04 |quote=...[J]ackets tend to have large rippling lapels as well as very broad shoulders and peplums over the hips.}}</ref> with Edwardian-style<ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Affluent Fans Breathe New Life Into Paris Couture |journal=The New York Times |date=1984-07-31 |page=C12 |url=https://www.nytimes.com/1984/07/31/style/affluent-fans-breathe-new-life-into-the-paris-haute-couture.html |access-date=2022-03-17 |quote=Emanuel Ungaro's updated, sexy Edwardian clothes...}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Saint Laurent Dominates Couture |journal=The New York Times |date=1984-01-31 |page=C12 |url=https://www.nytimes.com/1984/01/31/style/saint-laurent-dominates-couture.html |access-date=2022-03-17 |quote=Ungaro's draped Proustian look, updated with above-the-knee hemlines, looked sexy or old-fashioned, depending on the point of view...}}</ref> shirring, ruching, draping,<ref>{{cite journal |last1=Cunningham |first1=Bill |author-link=Bill Cunningham (American photographer) |title=Fashionating Rhythm |journal=Details |date=1988-03-01 |volume=VI |issue=8 |page=120 |publisher=Details Publishing Corp. |location=New York, NY |issn=0740-4921 |quote=Emanuel Ungaro['s]...designs display a burning desire for draping the body in search of perfect beauty.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Ungaro's Bright Palette Lights Up Couture |journal=The New York Times |date=1986-01-29 |page=C1 |url=https://www.nytimes.com/1986/01/29/garden/ungaro-s-bright-palette-lights-up-couture.html |access-date=2022-04-04 |quote=Ungaro is responsible for this season's dominant dress shape: tightly draped through the torso and flounced a bit at the hem.}}</ref> and his trademark eye-catching prints<ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=The Grandeur of Paris |journal=The New York Times |date=1982-08-29 |page=220 |url=https://www.nytimes.com/1982/08/29/magazine/the-grandeur-of-paris.html |access-date=2022-03-16 |quote=Emanuel Ungaro is as responsible as anyone for the current tendency to mix one glorious material with another - or with five or six more - in the same design. His astonishing medleys of satin, lace and wool, or of several different prints in the same outfit, have brought him acclaim. His fabric mixes have also spurred other designers to follow suit.}}</ref> to create a voluptuous, very feminine, even coquettish look<ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=Paris Pick-Me-Up from Valentino |journal=The New York Times |date=1985-03-27 |page=C1 |url=https://www.nytimes.com/1985/03/27/garden/paris-pick-me-up-from-valentino.html |access-date=2021-12-04 |quote=[A]t the Emanuel Ungaro show...models sauntered down the runway in short silk satin dresses, in myriad prints, all draped to the body. They were seductive dresses, a bit too suggestive...}}</ref> that was highly popular with the public.<ref>{{cite journal |last1=Horyn |first1=Cathy |author-link=Cathy Horyn |title=The Fall of the House of Ungaro |journal=The New York Times |date=2010-08-20 |url=https://www.nytimes.com/2010/08/22/t-magazine/22well-ungaro-t.html |access-date=2021-11-27 |quote=[M]any people know Ungaro because it was prominent in the '80s and '90s. If you were a snooty boutique owner in Dallas or New York and you couldn't sell an Ungaro dress with the drapery pouring over the breasts and thighs like butter on a hot ear of corn, you had no business being in retail. Men loved a woman in an Ungaro dress, it was said, because the style and the vibrant colors made them imagine what she had on underneath in a way that an Armani pantsuit did not and, further, what they might do with this thought.}}</ref><ref>{{cite journal |last1=Morris |first1=Bernadine |author-link=Bernadine Morris |title=The Ultimate Luxury |journal=The New York Times |date=1981-08-30 |page=206 |url=https://www.nytimes.com/1981/08/30/magazine/the-ultimate-luxury.html |access-date=2022-03-06 |quote=The hot collection of the season is that of Emanuel Ungaro...Americans are now flocking to his salon, not only to see the clothes, but to buy them. Even the French agree that his are the most satisfactory...}}</ref><ref>{{cite journal |last1=Cunningham |first1=Bill |author-link=Bill Cunningham (American photographer) |title=To the Future Through the Past |journal=Details |date=1989-09-01 |volume=VIII |issue=3 |page=219 |publisher=Details Publishing Corp. |location=New York, NY |issn=0740-4921 |quote=...Ungaro was continuing to drape dresses and cut suits, giving his designs an international influence greater than any other Paris couturier.}}</ref><ref>{{cite news |last1=Luther |first1=Marylou |title=Fashion |newspaper=The Washington Post |date=1985-10-24 |url=https://www.washingtonpost.com/archive/lifestyle/1985/10/24/fashion/d5a70038-eac5-4e43-880c-e3bdbfeccd4e/ |access-date=2022-03-09 |quote=Emanuel Ungaro, who started the bodice-shirring trend two years ago, continues to refine this look that's now being copied all over the world. As anyone who's ever worn one of these drape-front dresses can tell you, the shirring allows freedom of movement in even the narrowest of dresses.}}</ref>
 
▲Ungaro launched his first menswear collection, Ungaro Uomo, in 1973, and his first [[perfume]], ''Diva'', 10 years later in 1983. Ungaro was a participant in [[The Battle of Versailles Fashion Show]] held on 28 November 1973. Later followed the perfumes ''Senso'' (1987), ''Ungaro'' (1991) and ''Emanuel Ungaro For Men'' (1991). In 1996, he formed a partnership with [[Salvatore Ferragamo]].<ref name="Grdn"/><ref>Amy Barrett,
 
By 1989, Ungaro was producing two haute couture collections a year, two women's ready-to-wear (labelled "Parallèle", begun in 1971), as well as lower-priced labels "Ter" (1988 to 1991) and "Solo Donna".<ref>{{Cite web |date=1989-04-30 |title=STILL `SENSUOUS` AFTER ALL THESE YEARS |url=https://www.chicagotribune.com/news/ct-xpm-1989-04-30-8904100941-story.html |access-date=2023-11-23 |website=Chicago Tribune}}</ref><ref name=":2">{{Cite web |last=Kellogg |first=Ann |date=2002 |title=In an influential fashion : an encyclopedia of nineteenth-and twentieth-century fashion designers and retailers who transformed dress {{!}} WorldCat.org |url=https://search.worldcat.org/title/47216469 |access-date=2023-11-23 |website=search.worldcat.org |language=en}}</ref> That year a scholarship was funded in his name at the [[Art Institute of Chicago|School of the Art Institute of Chicago]], endowed by [[Marshall Field's]] in recognition of his legacy as a designer.
 
Menswear lines included "Classics by Ungaro" and "Ungaro pour l'Homme Paris".<ref name=":2" /> Lines not designed by Ungaro himself included "Emanuel by Emanuel Ungaro", a women's line introduced specifically for the US market in 1991, "Emanuel Petite" in 1994, and "Ungaro Woman", a plus-size line added in 1996.<ref>{{Cite news |last=Howard |first=Robert |date=1991-09-01 |title=The Designer Organization: Italy's GFT Goes Global |work=Harvard Business Review |url=https://hbr.org/1991/09/the-designer-organization-italys-gft-goes-global |access-date=2023-11-23 |issn=0017-8012}}</ref><ref name=":2" />
 
In 1996, he formed a partnership with [[Salvatore Ferragamo]].<ref name="Grdn" /><ref>Amy Barrett,
[https://www.wsj.com/articles/SB868486541517534000 Ferragamo's Expansion Will Test Family Values], ''Wsj.com'', 10 July 1997</ref> In Ungaro's obituary, ''The Guardian'' notes that his 30 years without outside investment ending in 1996 made him "the last independent in Paris":<ref name=":0">{{Cite news |last=Horwell |first=Veronica |date=2019-12-25 |title=Emanuel Ungaro obituary |language=en-GB |work=The Guardian |url=https://www.theguardian.com/fashion/2019/dec/25/emanuel-ungaro-obituary |access-date=2023-11-23 |issn=0261-3077}}</ref> <blockquote>Lack of funding shaped his own business. In 1968, he added ready-to-wear, sold at first from his salon on the Avenue Montaigne, then distributed in the US and Japan, for a reliable revenue stream to help support his couture without pursuing the licensing deals that had become standard for couturiers. He profited only from what his house directly made, not from selling the name to producers whose output quality he could not control.<ref name=":0" /></blockquote>In 1997, Ungaro, Ferragamo and [[Bulgari]] created a new company: Emanuel Ungaro Parfums. The new perfumes to follow were ''Fleur de Diva'' (1997), ''Desnuda'' (2001) and ''Apparition'' (2004).
 
===Giambattista Valli, 1998–2004===
[[Giambattista Valli]] worked as Creative Director for Ungaro from 1998 to 2004.<ref>{{Cite news |date=2020-03-02 |title=Giambattista Valli celebrates Parisian attitude in catwalk show |language=en-US |work=Reuters |url=https://www.reuters.comarticle/idUSKBN20P2G5/ |access-date=2023-11-23}}</ref> Ungaro credited Valli with revitalizing the house, and named him as his successor.<ref>{{Cite news |last=Wilson |first=Eric |date=2012-03-21 |title=Catering to the Valli Girls |language=en-US |work=The New York Times |url=https://www.nytimes.com/2012/03/22/fashion/giambattista-valli-designing-for-women-in-the-know.html |access-date=2023-11-23 |issn=0362-4331}}</ref> In a tribute after Ungaro's death, Valli was quoted by ''Vogue'' as saying "He was one of the big masters of haute couture, with a very personal kind of universe.... We worked in parallel a lot, he on the haute couture, and me on the ready-to-wear. For seven years I learned a lot from him. He was not listening to critics, just his own dreams and obsessions."<ref>{{Cite web |date=2019-12-24 |title=Emanuel Ungaro, Remembered by His Protégé and Successors |url=https://www.vogue.com/article/emanuel-ungaro-remembered-by-his-protege-and-successors |access-date=2023-11-23 |website=Vogue |language=en-US}}</ref>
 
In 2005, Ungaro retired and sold the label to internet entrepreneur Asim Abdullah for US$84 million.<ref name="Vogue"/><ref name="Ungaro">{{cite web|url=http://www.graziadaily.co.uk/fashion/archive/2010/04/26/giles-at-ungaro---it-s-official.htm|title=Giles at Ungaro – It's official!|date=26 April 2010|work=[[Grazia]]|publisher=[[Arnoldo Mondadori Editore]]|access-date=26 April 2010}}</ref><ref name="Grdn"/>
 
===Various artistic directors, 2005–2010===
After the sale, the label languished with a revolving door of designers – [[Vincent Darré]] and Peter Dundas –,<ref>Joelle Diderich (25 May 2010), [https://wwd.com/feature/emanuel-ungaro-taps-giles-deacon-as-creative-director-3085462-1318720/ Ungaro Taps Giles Deacon] ''[[Women's Wear Daily]]''.</ref> the last of which, [[Esteban Cortazar]], who was appointed in 2007, was fired two years later after his refusal to work with actress [[Lindsay Lohan]]. Subsequently, Lohan was appointed Artistic Director, working with new head designer [[Estrella Archs]], who was hired hastily to replace Cortazar. The introduction of Lohan, which was meant to give the label publicity, was received with shock and dismay in [[Paris Fashion Week]] 2009.<ref name="nytimes.com">{{cite news| url=https://www.nytimes.com/2009/10/05/fashion/shows/05lohan.html?_r=1&hp | work=The New York Times | title=A Controversial Debut for Lohan in Paris | first=Eric | last=Wilson | date=5 October 2009 | access-date=1 May 2010}}</ref> In 2010, during Paris Fashion Week, Lindsay Lohan announced that she was no longer working for or with Ungaro, and that she could not comment on the matter because of legal issues. Her work was heavily criticized<ref>[https://www.telegraph.co.uk/news/celebritynews/7402793/Lindsay-Lohan-ends-collaboration-with-fashion-designer-Emanuel-Ungaro.html Lindsay Lohan ends collaboration with fashion designer Emanuel Ungaro], ''Telegraph.co.uk'', 9 March 2010</ref> and soon after the fashion house was looking for a buyer.<ref>James Covert, [https://nypost.com/2010/03/25/emanuel-ungaro-abandons-boutique-eyes-buyer/ Emanuel Ungaro abandons boutique; eyes buyer], ''Nypost.com'', 25 March 2010</ref>
 
In 2009, the label had sales of about $200 million from fragrance and less-expensive lines sold in Asia, but the runway collection has been losing money for years.<ref name="nytimes.com"/> In April 2010, it was announced that Archs had been dismissed and British designer [[Giles Deacon]] would be taking over as creative director.<ref name="Ungaro"/><ref>{{cite news|url=https://www.telegraph.co.uk/fashion/hilaryalexander/7614095/Giles-Deacon-for-Emanuel-Ungaro.html|archive-url=https://web.archive.org/web/20100424225653/http://www.telegraph.co.uk/fashion/hilaryalexander/7614095/Giles-Deacon-for-Emanuel-Ungaro.html|url-status=dead|archive-date=24 April 2010|title=Giles Deacon for Emanuel Ungaro?|last=Alexander|first=Hilary|date=21 April 2010|work=The Daily Telegraph |location=UK |access-date=25 April 2010 }}</ref>
 
===Gilles Deacon, 2010–2012===
In 2012, the Italian company [[Aeffe]] took over the production and distribution of Ungaro products.<ref>Suzy Menkes, [https://www.nytimes.com/2012/09/25/fashion/25iht-fungaro25.html Ungaro's Latest Revival], ''Nytimes.com'', 24 September 2012</ref> In September 2012, Fausto Puglisi was named creative director of Ungaro, and the brand announced its comeback to the [[Paris Fashion Week]].<ref>Sarah Karmali, [http://www.vogue.co.uk/article/emanuel-ungaro-names-creative-director-fausto-puglisi-return-to-paris-fashion-week Emanuel Ungaro Names Creative Director], ''Vogue.co.uk'', 24 September 2012</ref> In 2015, Ungaro launched a [[smart device|smart]] ring that, connected to a phone, dimly lights up when a selected few contacts call.<ref>Sophie Charara, [https://www.wareable.com/smart-jewellery/emanuel-ungaro-smart-ring-omate-vip-alerts-1513 Emanuel Ungaro smart ring, powered by Omate, takes care of VIP alerts], ''Wareable.com'', 11 August 2015</ref> In March 2017, Fausto Puglisi was replaced by Marco Colagrossi (formerly women's wear at [[Giorgio Armani]]) as creative director of Ungaro.<ref>Joelle Diderich, [http://wwd.com/fashion-news/designer-luxury/emanuel-ungaro-switches-designer-takes-production-in-house-10836634/ Emanuel Ungaro Switches Designer, Takes Production In-house], ''Wwd.com'', 6 March 2017</ref>▼
In April 2010, it was announced that Archs had been dismissed and British designer [[Giles Deacon]] would be taking over as creative director.<ref name="Ungaro"/><ref>{{cite news|url=https://www.telegraph.co.uk/fashion/hilaryalexander/7614095/Giles-Deacon-for-Emanuel-Ungaro.html|archive-url=https://web.archive.org/web/20100424225653/http://www.telegraph.co.uk/fashion/hilaryalexander/7614095/Giles-Deacon-for-Emanuel-Ungaro.html|url-status=dead|archive-date=24 April 2010|title=Giles Deacon for Emanuel Ungaro?|last=Alexander|first=Hilary|date=21 April 2010|work=The Daily Telegraph |location=UK |access-date=25 April 2010 }}</ref>
 
===Fausto Puglisi, 2012–2017===
▲In 2012, the Italian company [[Alberta Ferretti|Aeffe]] took over the production and distribution of Ungaro products.<ref>Suzy Menkes, [https://www.nytimes.com/2012/09/25/fashion/25iht-fungaro25.html Ungaro's Latest Revival], ''Nytimes.com'', 24 September 2012</ref> In September 2012, Fausto Puglisi was named creative director of Ungaro, and the brand announced its comeback to the [[Paris Fashion Week]].<ref>Sarah Karmali, [http://www.vogue.co.uk/article/emanuel-ungaro-names-creative-director-fausto-puglisi-return-to-paris-fashion-week Emanuel Ungaro Names Creative Director], ''Vogue.co.uk'', 24 September 2012</ref> In 2015, Ungaro launched a [[smart device|smart]] ring that, connected to a phone, dimly lights up when a selected few contacts call.<ref>Sophie Charara, [https://www.wareable.com/smart-jewellery/emanuel-ungaro-smart-ring-omate-vip-alerts-1513 Emanuel Ungaro smart ring, powered by Omate, takes care of VIP alerts], ''Wareable.com'', 11 August 2015</ref> In March 2017, Fausto Puglisi was replaced by Marco Colagrossi (formerly women's wear at [[Giorgio Armani]]) as creative director of Ungaro.<ref>Joelle Diderich, [http://wwd.com/fashion-news/designer-luxury/emanuel-ungaro-switches-designer-takes-production-in-house-10836634/ Emanuel Ungaro Switches Designer, Takes Production In-house], ''Wwd.com'', 6 March 2017</ref>
 
==Fragrance==
In 2008, [[Avon Products|Avon]] and Emanuel Ungaro collaborated to launch a new duo of fragrances, ''U by Ungaro for Her'' and ''U by Ungaro for Him''. Actress [[Reese Witherspoon]] served as the scents' spokeswoman.
* '''''Avon U by Ungaro For Her''''' was developed by [[perfumer]]s [[Jean Marc Chaillan]] and [[Loc Dong]], and the "fresh, woody floral" includes notes of [[bergamot orange|bergamot]] blossom, [[freesia]], [[Capsicum|pepper]] blossom, [[acacia aura]], [[lotus (plant)|lotus]] flower, [[osmanthus]], [[iris (plant)|iris]], [[sandalwood]] and [[musk]].
* '''''Avon U by Ungaro For Him''''' was developed by [[Yves Cassar]] and [[Pascal Gaurin]], and the "woody aromatic watery blend" features green [[Mandarin orange|mandarin]] leaf, ruby red [[grapefruit]], [[pomegranate]], [[immortelle (disambiguation)|immortelle]], [[cardamom]], [[Cedar wood|cedar]] leaf, [[vetiver]], [[patchouli]], [[sandalwood]], [[tonka bean]] and [[Balsam of Peru]].
 
==Personal life==
In 1988, Ungaro married Laura Bernabei. He has a daughter, Cosima Ungaro, born in [[Neuilly-sur-Seine]], but her birthdate has been kept a secret.<ref>Susan Heller Anderson, [https://www.nytimes.com/1990/06/26/style/chronicle-193390.html Chronicle], ''Nytimes.com'', 26 June 1990</ref><ref name=":1">{{Cite news|url=https://www.bbc.com/news/world-europe-50886433|title=Emanuel Ungaro: French fashion designer Emanuel dies aged 86|work=BBC News |date=22 December 2019}}</ref>
 
Ungaro died in December 2019, at the age of 86.<ref name=":0" /> He had reportedly been ill for two years previous.<ref name=":1" />
 
==References==
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*[http://www.ungaro.com/ Official website]
 
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[[Category:Knights of the Legion of Honour]]
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