This season, Jeremy Scott showed himself to be a designer much more suitable to lead a house in new directions that don’t include Spongebob Squarepants or the Powerpuff Girls in Milan. Far from that, the only mock-pop cultural references Scott decided upon this season stopped at modifying the iconic packaging for Marlboro Red cigarettes to make it a product of Moschino Milano.
If you look closely, you will even pick up on the cigarette chandelier earrings, a rather comical – if not morbid – shout out to the smokers of the fashion pack though surely nothing that wasn’t seen or done at Jean Paul Gaultier in his the early days. Aside from that, Moschino AW16 showed a lot of high-intensity and somewhat theatrical evening-wear.
In some difficult spots this made a lot of the Moschino in Scott’s latest collection feel like the more uninspired output that we saw pre Jeremy Scott, however, as much as this was the case once it started progressing Scott did shift the focus onto a stronger narrative. This was instigated by model Anna Cleveland’s wondrous catwalk demeanour as she dominated the runway in a royal blue gown apparently suffering from some significant fire damage and effusing smoke in a sensory smorgasbord.
This rather sweeping attention to detailing a kind of narrative did tie the collection together by the end. Indeed, by look 50, a beyond theatrical dress combined with chandelier as skirt, and the final look, 59, a flush of silken red bows, ruffles and ballooned sleeves, all significantly scorched, it was clear there is hope yet for Jeremy Scott as a real contender at Moschino.
by Liam Feltham
Images courtesy of Moschino