MOSCHINO SS 2025 AND MORE

Where has the Moschino style gone? The irony, the courage, the sarcasm, the stand against the Fashion System of its founder?

Moschino Men’s Spring/Summer and Women’s Resort 2025 show in Milan. No matter how much they spend rivers of useless words commenting on the collection, the crucial question remains. But do the stylistic elements that have made Moschino’s style recognizable and famous worldwide – irony, courage, sarcasm, the stance against the Fashion System – yes, those very symbols that are being presented to us as they are now in 2024 (or rather, we should say 2025), still unequivocally express those concepts, or have they become desensitized signs stripped of their original meanings?

In reality, the question immediately sounds rhetorical for companies that do not want to admit their defeat in the face of the inevitable end of their founder (and we could name many). And then, do those very symbols still manage to identify the brand, or do they become childish parodies for those who have no idea how to think anew?

Other brands, like Emilio Pucci, have faced the same problem: specifically, can solid colors equally evoke the spirit of the Florentine designer? But similarly, the question reappears with Roberto Cavalli’s animal prints or Paco Rabanne’s metal mesh.

The real reason is that designers are not eternal, and the continuation of their work is nothing but the imprudent stubbornness of the administrators of the multimillion-dollar business that their ideas generated at a specific moment. Beyond this, considerations cannot clearly explain the revival of anachronistic canons.

We all remember Versace Atelier’s last show in 1997 and how the style was already different from the baroque elements to which the creator had accustomed us, now more sharp, essential even in the Byzantine cross embroidery. Already ahead of himself. Unreachable by anyone.

What about those brands that have lost their way even with the founder still present, who could no longer update their style or maintain the firmness (and conviction) of their roots?

Or the historic brands bought by commercial companies that could not resist trying their hand at the globalization of luxury like Schiaparelli, making it a matter of clichés that, although pleasant, do not convey the avant-garde of Elsa’s creative madness. And not least Margiela, Helmut Lang…

But to get back to the point, can two fried eggs or the tricolor in a balloon… or the geese bring back the sense of Franco Moschino? What would it now take to dissociate from the context and truly create?

Certainly! Here is the translation of the provided text:

Certainly not the 189 looks of the new Valentino, an archival reinterpretation carried out by Alessandro Michele of the Roman-Parisian Maison, with codes very similar to his work at Gucci, disappointing even for the high expectations.

Alessandro Michele had accustomed us to reasoning and imagining, qualities intrinsic to his fashion vision, unfortunately completely absent here. So what happens if the best creative directors fail? What change in leadership will be plausibly suitable? And what, ultimately, is the market demand?

It seems that a term is provided by Sabato De Sarno, former Valentino now at Gucci… Again! A repetition similar to itself, changed only in the relocation to another city, another team but identical in concept.

And the client? The one faithful to the taste of that specific Maison and made famous by communicative and media efforts? What will they do, blindly follow that style or adapt to the change?

Alessandro Turci speaking