Moschino Gets Surreal For Autumn/Winter ’22
We can’t think of anyone who has been having more fun in fashion than Moschino over the last year or so. To be sure, from the “Jungle Red” of Fall/Winter 2021, to the eye-popping psychedelia of Pre-Fall 2022, to super groovy collabs with Sesame Street, Tony the Tiger and Drag Race stars Symone and Gigi Goode, to a mini-musical called Lightning Strikes, which found supermodel Karen Elson taking lead vocals on an update of the Chic disco classic ‘Everybody Dance’, Creative Director Jeremy Scott has kept up the dazzle factor like no other, and done it all with a wink and a delightfully mischievous grin.
So surely the only thing left to do was to get totally surreal – which is precisely what happened on the runway for the Fall/Winter 2022 womenswear show. Reaching back for inspiration to a landmark pre-Millennium moment for the Milan fashion house, when Franco Moschino elicited a few gasps by adorning his 1989-90 ready to wear collection with cutlery brooches and hot-and-cold faucet handles, Scott imagined an eccentric manor house which is apparently balanced somewhere between the future and past, the real and unreal.
The collection’s overarching manifesto was made abundantly clear, one slinky black jersey dress being adorned with the phrase “Gilt Without Guilt” – which might just be a bit tongue-in-chic, but is also clearly sending the message that it’s time to get out and be totally fabulous again (almost) post-Covid, without the slightest bit of shame attached.
But models strikingly traversed the runway working a conceptual space somewhere between fashion and interior design. Indeed, a brocade suit was paired with a music stand and sheet music; a black velvet gown with a gilded bird cage; and a floral print with an opulent lampshade, all three items positioned atop their heads to outlandish but surprisingly alluring effect. And seriously, only Scott could think to make it possible to attend your next formal function as a Moschino grandfather clock. And really…why not?
But our favorite was surely the antiquey silver serving tray situated suggestively between the neck and torso of one particularly intrepid model, making for the most daring bustier since Gaultier popped those cones onto Madonna way back in 1990.
Scott observes, “The question this query can never really answer is: Are these magnificent comforts projected or personal? Simulated, or solid? Perhaps both. It’s 2001: A Space Opulence.”
And this collection is your time machine.