Speaking to Francesco Risso before his Marni shows is usually like solving a riddle, or realizing your backstage filter coffee may have been spiked. He’ll matter-of-factly tell you about “welded connections between two imponderables,” “the mystery of the mind’s neuro-connections,” or “the marriage of Truman Capote and Che Guevara.” But this season, on a video call before his digital presentation, there was nothing abstract in the state of Marni.
Unlike the tales of mindfulness, epiphanies, and baked goods we hear these days, Risso’s memories of quarantine felt like a ride through Willy Wonka’s sinister chocolate factory. “Lockdown felt very oppressive. I have a big dog, and whenever I’d go out, I had police sending me back home. It was strange; bad,” he recalled.
After he finished it, he sent looks to friends and family around the world: Los Angeles, Detroit, Philadelphia, New York City, London, Milan, Paris, Dakar, Shanghai, and Tokyo. In a digital showcase livestreamed from all of those locations , his diverse cast of non-models performed what Risso called his “Marnifesto”: “An experiment of collective neo-humanism, which is so individualist, but actually, this has been collective. It’s celebrating Marni not through the,” he explained.
Working on the collection, Risso had pulled his most-loved pieces from the Marni archives, re-created them, took them apart, and stapled them back together in new ways. If that was an illustration of fragility versus strength in itself, so were the constructions: unraveling knitwear, de- and reconstructed tank dresses, a rigid, box-fresh leather jumpsuit about to get crinkled. It all felt somewhat “charity shop,” but that inevitably comes with the territory of fragility.
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