MARNI SS25 – IN LOVE, SURPRISED, MESMERIZED…

Who are the amazing couturiers today? Who are the couturiers today who impress us with their incredible designs? Who are the ones who put their desires under display cases and make us all want what they have? And who are the ones who dare to put themselves on the line by looking outside the lock of their ateliers? For the past three seasons, Francesco Risso, creative director of Marni, has illuminated the fashion world with a light that not only casts shadows but also takes over a bit of the simple sun. It seems like decades ago, he held rave banquets in a former industrial complex, where coats paraded among brambles and debris, and the darkness was a pentagram to be filled with excitement!

These incredible dresses are encrusted with ideas and sticking to the chairs that branch out from the center, where three grand pianos are waiting to be played! Long skirts and stiff pants literally brush against the legs of those seated to watch the show, adding a touch of excitement to the event. The essential beauty ritual is the brief title in red on white cardboard of Risso’s collection for Marni, a cavalcade that has the limpid signals of a Haute Couture, leaving everyone eager to see what’s next! 

But wait, there’s more! We’re also seeing some of those gorgeous, flowing lines from six months ago at Marni. Think long dresses with square suede necklines worn over dusters with Versailles embellishments. White suits with bold red roses, hats that look like paper boats, mini pullovers with schoolgirl blouses and huge, funky, colorful skirts underneath on 80s sandals with rainbow tropicalia bands—it’s a blast! The longuettes open into a back slit and a corolla hemline that dances to the lightest of walking (pumps have rounded, almost cartoonish tips, yet are mysteriously sexy—how fun are they?). Eyebrows like seagull’s wings already in flight, eye shadow made of full-bodied black brushstrokes, grotesque hair in an antique doll’s blond—it’s a bold look! Risso for Marni has come up with a new concept: a ritual of fashion, not of identification. We get used to a new style that’s easy to recognize. It’s not Risso’s problem. We just have to get used to it. And it’s a good thing!