And here it comes the only Milanese fashion house that made the cut for me. Now, I know the maximalist aesthetic is the strangest for me personally, but I remember a couple of seasons ago I liked them surprisingly much. Maybe it was only the Alessandro Michele/Gucci effect which stunned the whole fashion world and which is not that fresh anymore, so I can handle as it is, a maximalist’s orgy.
Marni is a totally different story though. This time Francesco Risso started experiencing with the handmade and the happy accidents that happen when the whole design process is made in real life and not on computer screens. “It started with the processes of the work in the studio, and thinking of it as a painter’s canvas, which keeps changing and modifying in the trials and mistakes—suddenly, that becomes the work itself,” said Risso.
This certainly explains the raw hems, plain corsetry and draped or ruched skirts, the whole unfinished effect this collection bears. The trick is to know when to stop. When did Risso feel that the time had arrived, you may ask. “It was when all these personalities came out,” he said. “It felt like Dr Frankenstein bringing the Venus de Milo back to life—a remote future of disheveled nymphs, 3-D Amazons!” A true artist’s answer for sure.
Photos via vogue.com