We Ate Cake…And Maybe More – Moschino AW20

Moschino is no stranger to outrageous fashion. With past collections and resort shows’ concepts ranging from The Roman empire to trick or treat tricks, Jeremy Scott‘s ability to transform an idea into a visual masterpiece highlights his intellect, imagination and meticulosity. He’s the right creative director for the brand.

Moschino is one of those designer labels that slots perfectly into the ‘wearable art‘ category – avant garde is their trademark. Founded by Franco Moschino in ’83, the Italian fashion house continues to pave the way for when eccentricity meets high end . Their quirky yet commercial take on fashion is what’s spearheaded their popularity amongst musicians, socialites, elitists, and everyone in between. This includes bespoke designs made for pop princesses from the likes of Madonna and Lady Gaga.

Scott‘s AW20 collection can be described in one word. You say “impractical“, I say “ingenious!” I have been waiting a lifetime for the French queeness to have a modern update, and I think we just got it.

Profusely inspired by Rococo and Late Baroque trends, Marie Antoinette was the greatest style icon of her time; even her mother disapproved of her wardrobe choices! Popular fashion of the 1700s included boned stays, large hoops worn under the skirt of dresses and flared sleeves capped at half or 3/4 length with engageante add-ons. Bodices on gowns had square and sweetheart necklines accentuating the wearer’s décolletage and sensuality. This was enhanced by their signature collet necklaces typically made in pearls or precious stones – which is seen in Moschino‘s collection.

The colour palette stayed true to Antoninette, displaying an array of pastels, blush hues and macaron tones. This was nicely complemented against gold brocade and mid-wash denim, creating a kitsch yet contemporary cocktail of 18th century luxe. You may also note panniers worn under mini dresses, box purses and platform thigh highs with satin lace-up detailing. Sofia Coppola‘s 2006 film adaptation was a clear inspiration for Moschino‘s collection – the costumes in the film are remarkable.

Aspects of the collection do, however divert from its origins through the use of cropped bustiers, biker dresses and manga motifs. The modern styling of corset tops cinched into figure-hugging jeans makes for the perfect flirty evening finish. Whilst some designs veer towards ‘costumey‘ (note the comical climax of a model wearing a cake), others are unquestionably wearable, an ideal way to dress unconventional in the colder months.

Kaia Gerber, Gigi and Bella Hadid walked in this show; their stunning attractiveness completes the looks. Unfortunately, it was disappointing to see a continuous lack of diversity among the casting selection. Out of the 66 looks showcased, shockingly only 6 were worn by (noticeably) POC models – of which 2 were of a darker complexion. As a black-biracial woman, I am saddened that there’s still a lack of inclusivity within the industry, despite the growing awareness surrounding representation. In the coming years, I hope to see more females of colour on the catwalk.

Overall the collection was a complete success, with feelings of reminiscence (and something sweet) lurking in the air. Scott’s satirical creativity is what drives this fashion house to produce memorable collections. This season’s was the pinnacle, serving us a galore of pre-Revolutionary extravagance encased in leather and anime-printed delights.

Words By Charis Crawford Corri

Disclaimer – All images within this article are sourced from Vogue Runway. Ragged Culture Publishing Ltd. does not own copyright of images featured in this article. All rights reserved.

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