Moschino

I don’t speak Italian but I do speak Moschino- Jeremy Scott.

Moschino, established in 1983 by founder Franco Moschino, was unlike any other clothing brand at the time of its conception and has maintained its position as a bold alternative to this day. Starting his career as an illustrator for Gianni Versace, Franco Moschino went on to establish his first label ‘Moonshadow’ after designing for the clothing company Cadette. Moschino himself was inspired by the art world’s surrealist movement, making the creative decision to adopt symbols and themes associated with the movement into his clothing ranges and advertisements. Moschino was conscious of the fashion industry’s problematic features and was among one of the rare few who found ways to openly mock the extravagance and excessiveness that had become commonplace. He made a point of joking about ‘fashion victims,’ going so far as to include amusing slogans that he used for his designs or as publicity. He even decided to refrain from participating in fashion shows at one stage, in what was considered a revolutionary move by some hardcore traditionalists. By consistently staying true to his principles and contributing to charitable causes that were close to his heart, he demonstrated that he was one of the most humanitarian designers of the 20th century. He was avant-garde in his approach but, more than anything, he was a risk-taker who was fearless when it came to making a provocative statement. It was in his character to portray things exactly as he wanted to without ever taking himself too seriously. Franco Moschino was an admirable character and an asset to the fashion scene, whose premature passing away at the age of 44 from AIDS-related complications was a great loss.

Emerging in the same year that anti-fashion came to Paris in the form of Japanese western rebellion, Moschino found it’s own way of making a statement against the status quo. Punk’s cousin-grunge, also found it’s roots in this environment, spurred on by political and social evolution. Change was in the air and designers were forced to acknowledge this and adapt or otherwise fall out of favour. Surrealism was a continual source of inspiration and also a relevant reference point as a method of expanding one’s mind and letting the imagination run wild. A genre commonly sited as an influence for artists, writers and film directors, it had never quite made it’s mark in Moschino’s own industry until he arrived on the scene. The memorable cloudy sky adverts became one of several odes to the artistic genre, with the humorously self-aware tag-line ‘this is an advert’ emblazoned onto the backdrop. The conscious combining of surrealism with brand image was not only effective but was also well-matched in its tone, further accentuating what Moschino stood for. The aim of surrealism was to free people of their extreme alliances to rationalism, bourgeois values and restrictive logic. The movement was associated with anarchism and the dismantling of outdated ideas which, when applied to Moschino, seems a relevant connection to make.

Moschino’s early advertising campaigns stood out as being fun and lighthearted although, with his notorious ‘stop the fashion system!’ window displays, it was clear that there was also the desire for a real message to be conveyed. After collaborating with vogue magazine on several occasions, the influence of surrealist artist Salvador Dali in his work is perhaps not so surprising. The marriage between art and language which was initially solidified in the surrealist movement (most notably by Rene Magritte) was mirrored in the clothing which often made use of elongated printed-T’s decorated with the aforementioned catchy slogans. The quirky perfume ads that the brand is still known for premièred under Franco Moschino, with the playful ‘for external use only’ fragrance which came in a vessel the shape of a champagne bottle. Many leitmotifs were adopted by the designer and found their place as markers of the Moschino brand at this stage, including teddy-bears, brand logos, cow print, mouse ears, shopping bags and cleaning products among other non-couture symbols such as hearts, peace-signs, question marks, smiley faces and bar-codes. There is an unmistakable theatricality present in the fashion industry that Moschino honed into and put his own unique spin on, with his carnivalesque themes. When the collections were not actually celebrated by throwing a party, a party atmosphere would be created- whether it took the form of a festival, a circus or a fairground, it was impossible to predict what would happen next when attending one of his runway shows.

In 1994, following the death of Franco Moschino, long-time friend, colleague and former Cadette apprentice, Rosella Jardini took creative control over the direction of the brand. Despite the accusation that she paled in comparison to her predecessor, Jardini shrugged off the inevitable negativity which occurs so often when the lit torch is passed from one designer to another. She tactfully carried the brand into the 21st century, channelling the spirit of Moschino via her, admittedly, less wacky creative vision. By using her own taste to discern between what would be suitable in a modern market whilst simultaneously using Moschino’s tongue-in-cheek humour to attract attention, she found her place as a negotiator between the outrageous brand image and public demand. Jardini’s ability to carry Moschino’s legacy into the Millennium without any interference is often glossed over. Choosing to keep to herself more often than open up to the public, Jardini quietly persisted with her new role, using her business know how to handle the practicalities of owning a contemporary brand. She put her energy into opening up new stores around the globe which allowed Franco Moschino’s passion project to continue on. After 20 years of diligent hard work sustaining the label, it was decided that it was time for a new artistic director to take over. At this stage Jardini retired, creating an opening for new talent to emerge onto the scene.

Jeremy Scott, nurtured by Isabella Blow like McQueen before him, was appointed to fill Jardini’s shoes back in 2014. He went on to make a strong first impression with his debut collection based around the theme of junk food- not to forget a homage to Spongebob Squarepants in the form of a jacket, an inclusion which seemed strange and somewhat inexplicable to my mind. As observed by Vogue magazine, [the majority of the collection] was something of a hybrid blend between Coco Chanel and Ronald McDonald, therefore it was surprising when buyers ate it up… no pun intended. Scott had undoubtedly made a strong impact with his long-awaited emergence onto the scene. The choice of Scott for this role was a clear and natural one after having previously interned for the company and spent several years on his own self-titled clothing label. His bold designs and socialite personality attracted new customers, sparking the curiosity of young, fashion-conscious individuals. In addition to this, the revitalising of Moschino advertising on top of the endorsement of celebrity friends, the evidence of this cleverly spread through image sharing on social media sites, further drew the attention of a youthful clientèle. Scott injected a brash pop-art feel into the Moschino look, informed by his Missouri background. He expressed his taste for vibrant colours through his first collection, whilst also projecting an American mentality onto the flamboyant aesthetic. His focus on consumerism and various iconic labels has remained a standout feature, even going so far as to create collaborative collections with other popular companies and retail stores (Matel inc., McDonald's, H&M, Nickelodeon etc.), resulting in him being dubbed the Andy Warhol of high fashion.

A comparison can be made between the product-design-chic, which Jeremy Scott employs, and Franco Moschino’s loyalty to surrealism in that both are fluent in the language of post-modernism. According to stylist Carlyne Cerf De Dudzeele, being cerebral is not part of the game plan, which may go some way towards explaining the emphasis on visuals and the sense of spontaneity. Whether intended or not, however, there is more to this beyond what lies on the surface- the surface being very much the main point of focus. The collections, which are less vapid than they would initially seem to be, are similar to pop-art in so far as it is often difficult to discern whether there is more than one layer to the thought process behind any given piece. With Lichtenstein-inspired dresses featured in recent collections, Scott would appear to be aware of this parallel, and can even be seen to embrace it. Similar to Warhol, Scott makes use of well-known product logos in partnership with his own label to create an interesting post-modern dynamic that encourages the spectator to question their relationship to these brands. By mischievously deviating the meaning of these names through placing them out of context, he asks us to question what these ubiquitous logos mean to us, and whether we own them or vice versa. Perhaps the appearance of these big corporate names in his first collection suggests a level of self-consciousness concerning his new-found ownership over the Moschino image. Alternatively, Scott may have simply decided to continue a trend that Franco Moschino had started long before him.

It has to be said, Scott and his stylist possess a particular talent for subverting beauty and a real aptitude for creating something new and exciting by combining two mismatched or opposing elements. In the case of the first A/W14 collection, high brow and low brow elements were placed together in typical Moschino manner. This collection, which largely centred around junk food, took something that would typically be considered unsophisticated and transformed it into a concept that was desirable and extravagant. The ability to challenge public perceptions in this way, I must admit, is something I find appealing. Of this approach, there have been several critics, who have raised concerns about the fetishizing of the poor by the rich. This is a point that I consider interesting and valid yet debatable from a creative standpoint. It is worth deep consideration. Should the ‘elites’ of society really be profiting off of the misfortune of others to create a quaint and quirky look? Scott would undoubtedly answer ‘yes!’, drawing attention to his own modest start in life.

I can’t claim to know everything about the brain behind the brand, but the well-rehearsed rags-to-riches story of Scott’s humble background comes off as a cheap and not-so-chic marketing ploy that is supposed to endear the simple farm boy to the potential customer, in my humble opinion. It is not necessarily something that I doubt to be true, but rather something that I only have so much patience for. He is just like us! We are supposed to think but in reality, Scott’s flagrant use of these outdated and fairly transparent sales strategies do little to garner sympathy from my personal perspective. I don’t mean to sound harsh or dismissive towards the highly-praised Scott for what can only be guessed at from an outsider perspective, but merely to offer an attempt at a realistic reading. Without wishing to criticize Scott’s creative inventiveness which is indisputably endlessly fruitful, what few seem to have noticed is that just some of his unique inventions do appear to be copies of previous costume designs. One example of this is the McDonalds girl outfit taken straight from the wardrobe of The Fifth Element designed by Jean-Paul Gaultier, or alternatively, the Chanel suit once made famous by Jackie Kennedy. Isn’t it true though, that everything has been done before?

When all is said and done, it’s hard to deny that within each collection there are amazingly inspiring inventions displayed on the runway. In the first show, the twisted Hersheys wrapper dress caught my eye for the way it was constructed, a prime example of how so many pieces in this first collection were made to mimic a piece of rubbish, yet still look fabulous. The wedding dress comprised of nutrition facts, however, was a favourite. I could see that Scott was making a statement about calorie counting and the trend for clean eating, points which both have particular relevance in the industry which he works within. Conversely, I could see that by highlighting, not the product design, but the boring, nutritional information, he was consciously drawing our attention towards a side of our consumption that we are perhaps less attentive to. I enjoyed this final piece being in the form of a wedding dress, though afterwards Scott was also scrutinized by journalists who thought it strange that a vegetarian designer would make an example of McDonald's inspired outfits. I believe that this is missing the point; the clothes in his first collection may not have all been to my taste (again, no pun), but it did allow pause for thought- how is it that we define beauty exactly? Whether we like it or not, the answer to this question is often: the indication of wealth in some form or another. To see pretentiousness raised on its head in this way was personally intriguing to me and in line with the values of Moschino himself. With examples of the glamorization of junk food in modern culture ranging from Telephone incarnation Lady Gaga curler cans to Marina trash-chic in her video for Shampain, accessorizing (read up-cycling) with garbage was clearly a trend already.

Rational as it may seem, I can’t help but find myself questioning whether the decision to hire Jeremy Scott was the right one. Despite this, I would like to touch upon just a few of Scott’s designs and collections that have stood out as being especially unforgettable, in an effort to show appreciation at the brilliant displays of creativity that have been executed in shows prior. The Moschino spring ‘19 line is colourful, expressive and exciting. The outfits were designed to look as if they had been scribbled in imperfectly with marker pens. Hats, dresses and tights looked as though they had been enthusiastically rendered by a Crayola happy child but somehow also brought forth a feeling of joyous nostalgia with simultaneous hopeful optimism. The autumn 2018 collection was heavy on the art pop vibes with exuberant bursts of colour and references to 1960s icons alongside examples of art prints that would fall under the same category. The spring collection of the same year was truly breathtaking, with elegant gowns manufactured to emulate the appearance of a flower in full bloom. Such rare elegance is displayed to the point that it is, quite possibly, my personal favourite line to date.

Equally memorable was the 2015 Barbie-inspired ensemble that caught the attention of so many and saw high-street stores emulating the brand, starting a team of collaborations with depictions of dolls and cartoon characters still going strong. Better still, was the ‘pills collection’ which caused a public controversy that would do Franco Moschino proud. This too intrigued me, perhaps as someone belonging to a generation which is riddled with mental health struggles whilst at the mercy of a morally dubious pharmaceutical industry. I’ve hardly a friend who hasn’t been on anxiety medication at some point or another yet, all the while, the poeticizing of various mental health struggles have been a sore spot for so many who have suffered. Clearly, Scott is successful in his profession as someone who not only knows how to contest the norm but also possesses a highly creative disposition with the visual insight of an artist. He appears to be aware of, not only what will cause an emotive and meaningful impact, but also of what is a relevant part of the zeitgeist.

All things considered, Scott is most-probably deserving of his accolades for creating collection after collection that has produced truly stand-out moments which are impossible to ignore in their stunning novelty. Truthfully, I for one, really do appreciate the contemporary feel of the Moschino ads that bring a splash of colour, lighting up the pages of Vogue with something novel and eye-grabbing. Scott is undoubtedly in tune with his younger audience and their penchant for extremity, striving for new and exciting trends aided by immediate access to the instantly gratifying internet. Moschino designs have often appealed to a younger clientèle with many youthful rappers, actors and pop artists taking an interest in the brand. No doubt, the marketing is in part to thank for this, as the promoting of Moschino is very noticeable with visual merchandising being considered something of a speciality. It seems likely that Moschino is one of the fashion houses that first capture the attention of new money. Considering the three-part structure of the clothing lines that include varying levels of affordability, it makes sense that aspirational young individuals would be drawn to this comparatively achievable model. Whether this necessarily translates as good taste, wouldn’t be for me to say.

In actuality, I do have an appreciation for Moschino, I believe it has its place as a light-hearted spin on high-end fashion. I admire Franco Moschino’s stand against pretentiousness, his rebellious attitude towards fashion shows and especially his desire to make a difference in highlighting causes that were important to him. Moschino the man is truly unique in his lack of respect for the seriousness that the industry expects, his playful attitude towards his art is what truly draws me to his character. It’s not that I think ill of the brand but rather that I have a lot of thoughts regarding this unusual chain, both for and against. First and foremost, I love the irreverence, I love what Moschino stands for and I also really enjoy the joyous celebration of youth that Jeremy Scott brings with his controversial displays and visually stunning catwalks. Both Moschino and Scott harness the power of performance art and advertising to convey a message. Both designers are equipped with an understanding of art history which helped Moschino to find its place, not just as a clothing company, but as a theatre production, a spectacle and most importantly as a form of art in its own right.

Sources-

Carrara, Gillion, ‘Franco Moschino,’ Love to Know, <https://fashion-history.lovetoknow.com/fashion-clothing-industry/fashion-designers/franco-moschino>

Geczy, Adam, Karaminas, Vicki, The End of Fashion: Clothing and Dress in the Age of Globalization, (Bloomsbury Publishing, 2018)

Gonsalves, Rebecca, ‘ Moschino 30 Years On: Italy’s Most Light-Hearted Label Enters A New Era,’ The Independent, 2014 <https://www.independent.co.uk/life-style/fashion/features/moschino-30-years-on-italys-most-light-hearted-label-enters-a-new-era-9141670.html>

Littman, Margaret, ‘No Fashion Victim,’ ABA Journal, 2004 <https://www.abajournal.com/magazine/article/no_fashion_victim>

Martin, Richard, Wordrobe, (New York: Metropolitan Museum of Art, 1997)

Nicklaus, Olivier, ‘Antifashion 90s in english,’online video recording, Youtube, Aug 25 2017, <https://www.youtube.com/watch?v=8kle_lPRtNs>

Okonkwo, Uche, Luxury Fashion Branding: Trends, Tactics, Techniques, (London: Macmillan Publsihers ltd., 2007)

Jeremy Scott: The People's Designer, dir. by Vlad Yudin, (Netflix, Sept 18 2015)

Images attributed to "Fashionstock.com" licensed under ID 45400339