Moschino’s Stunning Ode to Haute Couture Had One of MFW’s Best Moments

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Jeremy Scott’s campy, over-the-top version of Moschino has its fans and its detractors, but it should never be said that his work is without a sense of humor. Over the years, he has tapped into the pop culture vein to produce collections oriented around Barbie dolls, Spongebob Squarepants, McDonald’s, and blue aliens. He once even crafted a collection devoted to literal garbage (Derelicte Chic, anyone?). We’ve come to expect the unexpected at Moschino, but what if the unexpected turned out to be tremendously chic fashion dedicated to the works of 1980s couturiers? If it did, we’d be shocked.

Photo: Courtesy of Imaxtree

Although we digest fashion news so fast its scary, this is one moment that we will remember long after MFW has ended.

And shocked we were when Scott produced one of his most fashion-forward presentations ever, with a show that addressed the industry’s systemic problems with speed. In homage to the couturiers of the past – the Claude Montanas, the Yves Saint Laurents, the Christian Lacroix – Scott designed a whimsical, delightful collection focused on perfectly tailored dresses, suits, and outerwear worn with a strong shoulder and jaunty wide-brimmed hats. However, the prompting for this collection was a nightmare of sorts, one where Scott was rushing to put the show together armed only with his sketches and no actual clothes. In reality, the idea appeared as childishly scribbled lines, which lent a cartoon quality to the sophisticated silhouettes. It was a funny touch, and one that worked well within the Moschino universe.

The feeling of a collection being rushed together was also present in the set design, which replicated Moschino’s atelier, a hat made to resemble a thimble and another that looked like a pincushion, a few floral dresses that still had bolts of fabric attached, and one extraordinary look made from enormous vinyl scissors.

But nothing could prepare us for Moschino’s stunning finale. At the end, Gigi Hadid emerged to strains of the ‘Wedding March’ in a pure-white puffball gown. Behind her, clad entirely in black, came a barely visible army of people holding her train aloft, above which a multitude of colorful butterflies hovered. It was pure magic, and one of the most thrilling finales Scott has ever done. Although we digest fashion news so fast its scary, this is one moment that we will remember long after MFW has ended.

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