An opulent space. A grand manse. An elegant room. Or, at least, an observer’s telescoping of these premises.
For Moschino’s Fall/Winter 2022 womenswear collection, Jeremy Scott toured the concept of well-appointed home- and what its finery both signifies and suggests, with a weft of the surreal.
It began with a seedling from Moschino’s archives: In 1989 and 1990, Franco Moschino introduced cutlery brooches and hot-and-cold faucet handles as accents in his ready- to-wear.
A close to home feeling ensued, yet it became complemented by a study bordering on the unusual, if not the Kubrickian: if someone, or something, was tasked with creating the clone of a grand manor today, would baroque picture frames, stately armoires, grandfather clocks and crystal-dripped chandeliers still mark the trappings of a monied dwelling?
As is Scott’s modus operandi, a balance of indulgence-gilt without guilt, in this case – and suggestiveness fills Fall’s chambers.
To start, a reimagined tuxedo jacket-dress features Moschino’s heirloom handles as buttons. Skeleton key cutouts take shape on fitted, sculpted blazers, while versions of Louis XIV-era dressers ornate and old money are transformed into coats and boxed jackets and skirts. Ballroom harps stand in for the lapels on a fitted standing collar blouson, recalling the uniforms one might see on vintage sci-fi shows.
Chandeliers motifs swing and filigreed trimmings on trompe l’oeil drapes swish, as the foyer gives way to a decadent dining room. Here, Moschino’s silverware comes into play, now as golden decorations on a bodice or as wraps around high heels. The dining room details morph into plush parlor cues, with a velvet settee as a strapless dress, a towering clock column, and a silver tray bustier.
The question this query can never really answer, though, is: Are these magnificent comforts projected or personal? Simulated, or solid? Perhaps both. “It’s 2001: A Space Opulence,” says Scott.