Marni Autumn/ Winter 18 was a kick ass clash of the past and the future. “It’s a message about a plurality of women and people and about going back to human kindness and actually that plurality of women screaming out with colours and giving a vital message to the streets,” Francesco Risso told us after the show backstage. Don’t want to mess with these girls out on those streets, strength in individuality or in numbers. Unstoppable. The set was filled to the brim with old televisions, bundles of blankets, stacks of newspapers and mattresses – like a reclamation yard but clean and chic, obvs. “It came as an evolution of the menswear, where we had people seated around campfires on random objects that would have pertained to diverse minds,” Risso said. “This time it was about grabbing this amount of objects and collecting them in a sort of obsessive way. To create an elementary state into a sort of… house.”
We’re calling it the Marni Manor. A bit bonkers but still oh so harmonious. The basics of good coats, slinky dresses on hyperdrive. It was all about duality, music miaowing as dresses met in the middle, one part satin one part crepe and huge woollen coats dissected into clashes of colour and textures. Threads trailed, raw edged and unravelling in a perfected symmetry. Vinyl was on blast, electrifying blues and neon pinks met rich reds. Klaus Nomi’s ‘Death’ struck through the finale, more beautiful discordance. Yes, it was a mash up but cleverly fused together, the explosion of colours and pussy prints with green eyes. We like what’s been stirring in that Marni melting pot in the manor. Unified, cool and buzzing with energy.
Photographs by Jason Lloyd Evans