{"id":1675,"date":"2021-02-26T17:11:08","date_gmt":"2021-02-26T06:11:08","guid":{"rendered":"https:\/\/graziamagazine.com\/?post_type=articles&p=187244"},"modified":"2021-02-26T17:16:09","modified_gmt":"2021-02-26T06:16:09","slug":"moschino","status":"publish","type":"articles","link":"https:\/\/graziamagazine.com\/me\/articles\/moschino\/","title":{"rendered":"Moschino Fall 2021 Is A Glorious Hollywood Dreamscape"},"content":{"rendered":"
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Moschino fall winter 2021.<\/figcaption><\/figure>\n

This season, fashion shows are being constantly perceived and interpreted though the window of our pandemic era – in a kind of exhausting context ad nauseam. But what if\u2026a show could exist in spite of it? A collection with such theatrical luminosity that one could forget the atmosphere<\/i> and instead, simply, be transported to a glorified yesteryear. Enter Moschino, stage left.<\/p>\n

Jeremy Scott doesn\u2019t play by the rules. And he doesn\u2019t pander to trends or zeitgeist or political environs. He runs the show. A show as far and fabulous as his imagination can take him. \u201cNobody tells me nothing. I\u2019ve heard stories of designers at other major houses who have to present their work to the owner to get approval of a theme and then get denied that theme. It shocks me. In that way I am very old-school: I am the designer, I have a vision, and we follow my vision to the nth degree. And that\u2019s the law.\u201d he said in a video call.<\/p>\n

This Moschino law, the one Scott inherited from master of mockery Franco Moschino in 2013, poses a compelling case for sartorial satire every single season. And, for Fall 2021, his dreamscape is Jungle Red<\/i><\/a>, a stylised salon show that both honours and jibes at 1950s Hollywood.<\/p>\n

The name comes courtesy of the infamous nail varnish colour featured in the 1939 film The Women<\/i>. Films of this era are iconically decadent. A protagonist dressed in a velvet gown leaning dramatically against a marble staircase before circulating a highfaluting soiree was practically imperative to every script.<\/p>\n

Scott\u2019s reenactment is perfectly pretentious, and one almost upstaged by the – count them – 36 sensational model names that are revealed as the film plays out. Supers like Karen Nelson, Shalom Harlow, Amber Valetta, Carolyn Murphy and Liberty Ross causing oohs and ahhs (from this writer, at least) as their faces appear from behind oversized hats and stage props. Then, there\u2019s Joan Smalls, Lily Aldridge, Taylor Hill, Stella Maxwell, the list goes on. Ma\u00eetre d\u2019 (actor and model) Maye Musk introduces each fashion setting – the work day, the countryside, the museum, the \u201cshopping\u201d safari – in flowery detail as the film\u2019s riotously glamorous discourse evolves.<\/p>\n

But we digress. This is a fashion show, after all, not a film. Though you could be forgiven for thinking otherwise. Scott intersects his crafty costumery so sympathetically into his narrative that it\u2019s difficult to tell which came first – the look or the concept.<\/p>\n

There\u2019s Hailey Bieber in a Sinatra pinstripe shorts suit and platform Astaire brogues. There\u2019s Winnie Harlow in a pearl-draped, black fish-tail gown slung with a pink Chantilly caplet. There\u2019s Miranda Kerr in a farmyard trompe l\u2019oeil Oklahoma!<\/i> dress (replete with a very covetable barnyard bag). There\u2019s Precious Lee in a va va boom Charleston number flanked by a giant glove-shaped pashmina. There\u2019s Amber Valetta as a gilt gold crocodile pencil skirt with a (genius) spiked tail. There\u2019s Shalom Harlow as a sequinned cheetah in matching thigh high boots. And then there’s the cinched peplum two-pieces crafted from ye olde hessian potato bag prints. A gloriously facetious, and typically Moschino, take on “she’d look good in a potato sack”.<\/p>\n

The looks are resplendent and plentiful, making just one watch of the film not enough.<\/p>\n

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Moschino fall winter 2021.<\/figcaption><\/figure>\n

It\u2019s quirky and captivating. Surreal in a most literal sense (paintings revealing to be real life, models dressed as giraffes and hats as windmills) – exactly how Scott would have intended.<\/p>\n

In 1951 Gene Kelly directed a dream ballet into his Academy Award winning film An American In Paris<\/i>. A 17-minute interpretative indulgence that swerved choreography into French impressionism and served as a symbol of romance. Its ilk is all but extinct in today\u2019s appetite for fast-paced cinematic realism, so Scott’s nostalgic homage (particularly when a spectacular painting comes to life) is champagne for the soul. Glamour for glamour\u2019s sake. No street style, no couch couture, no reality.<\/p>\n

\u201cComfort\u00a0schmomfort<\/i>! What we need now more than ever is fantasy and glamour and things that make you feel wonderful, and I don\u2019t think sweatpants do that.\u201d said Scott.<\/p>\n

On the runway, prior COVID, Moschino shows were always a seasonal highlight – Scott\u2019s ability to constantly spear such notable talent is proof – however, in this parrallel universe, it\u2019s possible he\u2019s managed to make them even more exciting. This new expectation placed upon designers to produce not only a collection that is sellable and strategic but also a cinematic experience is weighting. How can they possibly create such gargantuan productions several times a year?<\/p>\n

Fortunately, it also means a new frontier for fashion shows. In a calendar that was grappling with adjectives like pass\u00e9 and redundant before the pandemic, this forcible shift into a genre of entertainment is offering a surprising rebirth, and a whole new public online audience.<\/p>\n

The film ends with Dita Von Teese in a floor length satin Queen of Hearts gown. She offers a sashay-and-a-wink before turning to reveal a little bare-bottom surprise. Cheeky, in every sense.<\/p>\n

Applause.<\/p>\n

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