For the women’s collection FW 22/23 Jeremy Scott , Moschino ‘s artistic director , takes up the archives from 1989 to 1990, when Franco Moschino introduced cutlery-shaped pins and faucet knobs as elements of his prêt-à-porter.
In line with his modus operandi, Scott imagines as the leitmotif of the collection a house both to live in and to wear, well furnished, which the founder would have liked too, because it symbolizes refinement but with the surreal touches that have always been the horses of battle of Moschino.
Within these elegant spaces, on the notes of a waltz, women dressed in a subtle balance between pleasure and provocation move.
The tuxedo jacket is reinvented with heirloom handles like buttons, while key cutouts take shape on fitted jackets and blazers, sculpting the female body. The crystal chandeliers are transformed into giant earrings and the classic lampshade of yesteryear becomes a whimsical headdress, made ad hoc by Stephen Jones .
The memories of a Louis XIV style chest of drawers become a source of inspiration for making oversized coats and boxy jackets, combined with A-line skirts.
As in a royal residence, from the atrium you pass to the dining room with a decadent taste, where the silverware of the Moschino house comes into play, changing into golden decorations on the bodice or on the vertiginous heels.
Other details of the dining room are converted into sumptuous velvet fabrics, which recreate a strapless sofa dress or in a clutch, while a clock that strikes tea time changes its nature into a column dress and a silver tray. turns into a bustier.
The great classics of the brand are freely reinterpreted with the irony that was the hallmark of Franco Moschino.
The soundtrack, which begins with the notes of 2001 A Space Odyssey by Stanley Kubrick to accompany the gait of the models, fades to the great notes of Jonathan Strauss ‘s Bat , ending with the scenographic release of Jeremy Scott, who greets the audience wearing a red astronaut suit.