Francesco Risso is obsessed with film, an explanation for the cinematic set up at Marni A/W 18. Newspapers and books were stacked to make seats. Elsewhere were mattresses, tyres, and I think even a series of fax machines. Some senior editors were heard asking for cushions, which is understandable, especially if your seat was the latter. The set didn’t overtly correlate to the collection itself but lent a sort of undone, crafty sense to the atmosphere.
However, as a mood maker, the hoarder's paradise fitted well with the designs. Stitching featured heavily on the exterior of both shoes and clothes. PVC coats were made with the seams facing out, rogue threads swinging from sleeves. Silk dresses with voluminous shoulders were made from two colours or patterns, sewn together in the middle. Thick white cotton stitches ran down the arms, and hems were left unfinished.
The wool lining was also re-imagined as outwear. Gold buckles at the waist and orbs on the sleeves ensured that when this material was used it never erred on the side of messy. Thick belts with large metal buckles also served to bring looks together with their sheer geometric definition against the softer silhouettes. In spite of the chaos, Risso was always in control.
There was a sense of felinity, especially to the dresses, which were fitted and sinewy. This was also brought out by cat-eye prints. And, if there was to be any confusion, the opening soundtrack featured a lot of eerie miaowing.
Marni has always done a great trade in ‘ugly’ shoes, and this season was no different. Royal purple clashed with tiger orange and jungle greens met stark whites on thick rubber platforms; block colours maxxed out Mary Jane heels with stitching detail across the sole. Jewellery came in the shape of circles and half moons. A sense of natural rhythm against the disorder.