Moschino gave quiet luxury the boot for SS24

Moschino gave quiet luxury the boot for SS24

by Ollie Cox
4 min

For SS24, Moschino celebrated “40 years of love” as it invited four friends of the house to design a collection inspired by founder Franco Moschino’s designs from 1983 to 1993, for the first show since Jeremy Scott’s departure. The (literal) stage was set, with models appearing from behind a red curtain, closing and opening to mark looks designed by a different designer. The show took the form of a play, with each serving as an “act” in the performance. 

The first act was a collection designed by Carlyne De Dudzeele, a French stylist, art director and photographer whose looks nodded to the glamour and opulence of 80s film stars. Black turtle necks were tucked into high-waisted slacks and black heels embellished with diamond-style detailing. Quite luxury is so last season, and Dudzeele knows it, choosing to punctuate her looks with layered diamond-style jewellery. Shirts were worn with rolled-up sleeves, which overlapped with the black gabardine windbreakers. A shining diamond-style tank paired with black leather gloves and shorts was a particular highlight. 

For Act Two, the nostalgic nods to Hollywood were phased out, first heard rather than seen as the thumping kick drum of Techno reverberated through the room. Designed by Gabriella Karefa-Johnson, the whole collection felt like a hedonistic party uniform, the type you’d wear on a yacht owned by a billionaire you don’t know off the coast of Saint Tropez. Models wore striped swimwear underneath a gold chainmail-style skirt. Colour was front and centre in this nostalgic 90s nod. Franco’s trademark cowboy hats, oversized jewellery and crochet dresses were all updated through Karefa Johnson’s modern eye. 

Act Three was designed by Lucia Liu and channelled the femininity that featured throughout Franco’s work, but often went unnoticed. Models wore floral bonnets which contrasted to the pounding soundtrack in looks that channelled “Bridgerton meets Berghain”. Ruched pink skirts were accented with bow detailing and puffed shoulders, and T-shirts printed with the phrase “Save me from the fashion system” spoke to the sometimes ruthless nature of an Industry in which Moschino has lasted 40 years. Pearl jewellery featured classic Moschino love-hearts and, with elbow-length gloves, furthered the femininity. 

Katie Grand added to the energy for Act Four, with models confidently storming to the stage, stripping down as they danced around the runway. Models wore textured leotards and two pieces with painted-on question marks, exclamation marks and body detailing. Models became one as they thrust themselves onto each other before breaking away and charging back around the runway. Jumpers were printed with the phrase “loud luxury,” acknowledging the maximalist themes of the show, while textured tutus bounced to the beat of the music. Accessories arrived in the form of waist packs featuring Moschino’s iconic heart motif. 

Next, the tempo changed completely, as Shirley Bassey’s “I am What I am” was performed by Laura Marzadori on the violin, serving as a tribute to the finale of the Moschino Fall/Winter 1986 fashion show. Marzadori serenaded the crowd wearing a black evening dress with gold detailing, with her performance signalling Moschino’s enduring and authentic tenure in the industry. 

The Finale saw 40 models close the show in jeans and a T-shirt, reading “Borrow Me, Wear Me, Hug Me,” which served as a reference to Franco’s love of T-Shirts with interesting taglines. The Tees also honoured the brand’s founder commitment to charity work, especially for HIV/AIDS awareness. The T-shirts were sold after the show, with all proceeds going to the Elton John AIDS Foundation. 

For SS24, Moschino brought the party vibes, serving a theatrical spectacle that felt true to the brand’s history and enduring legacy. The show was cool, camp and contemporary, showcasing the label’s design legacy in a forward-thinking display. 

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