Last summer, in the midst of a tangled relationship, I took an impromptu trip abroad. The trip itself was an aside to the story I wanted to tell here, a story about two long flights, the first with sleepless red eyes I ran laps in the predicament and came back to the question again and again Why does everything have to be so complicated? Why can’t my life be straight for once instead of this endless branching road to darkness?
On the flight home, I distracted myself by watching movies – especially Pepe Pedro Almodóvar’s parallel mother. This movie has me swooning. Its plot is a heap of mistakes, ranging from inadvertent blunders to historic catastrophe, yet the note Almodóvar writes is an uplifting one: bonds of love forged from pain, confusion, and complexity. As the credits roll, it strikes me that a film that follows the logic of my wanting to conquer my own life could never move me so much – a story about a frictionless, picture-perfect existence isn’t many stories . Maybe, I mused, gazing into the setting sun, the way forward is to embrace the tangle and the work of unraveling it.
These thoughts came to my mind again when I watched the Marni Spring Summer 2023 collection , the collection will be exhibited in New York in September. It was the theme of sunrise and sunset that first struck a chord: creative director Francesco Risso thought up countless ways to incorporate radiant orbs into his looks—stitching them, printing them on form-fitting jersey dresses, and cutting them out at the rounded shoulders Embroidery around, like painting a gentle frame around the heart. Rizzo would later explain that the inspiration for the theme came from a moment of pause: He, too, was staring out the window one day in thought, “realizing that no matter what happens, we can always stop for this beauty, the sun rising Get up or sit down, breathe, and come back to our bodies. Then we continue.”
The more I look at Risso’s sun, the more I’m struck by the intentional imperfection of his clothes Impressed by their oddly textured adjoining and dangling sleeves and hems and threads. Imperfection resonates, too: a series that focuses on the wonderfully unfinished life of life, and its ebb and flow; a celebration that is in the process.
As fashion week continues, the idea keeps reappearing: in London, at Erdem’s show, a tribute to art and vintage clothing restoration in Milan, Matthieu Blazy’s precise asymmetry and windswept gestures at Bottega Veneta read like life freeze-frames in motion. In Paris, as the collection draws to a close, Dries Van Noten turned his post-pandemic return to the show into a story, with all-black looks inspired by Kazimir Malevich’s paintings of the Void blooming into a grand finale. Parade of vivid, blurred flowers—a typographic effect designed to mimic the sight of someone “waking up and squinting outside at the flowers,” according to Van Noten.
“I always tell people: you don’t have to be in health witness protection plan,” she said. “There’s no reward for doing everything perfectly all the time. Success is about accepting that, well – you’re right where you are, maybe it’s two steps back from yesterday, but things happen, so be gentle with yourself One point, keep going.”
“The idea that we can snap our fingers and go back to ‘normal’ is absurd because now we have to ask, what Is normal?’ Van Noten continued. “It’s a question I’ve been thinking about when I’m thinking about returning to the runway and what kind of collection I want to show. I feel like it would be pathetic not to convey that the way I see the world and my place in it has changed. I want to design clothes for those who also have these thoughts. “