Marina Moscone, who said she was in a “nesting” mood, brought things closer to home for fall, choosing to photograph the lookbook in her studio. That decision, she explained on a walk-through, came from thinking about the trajectory of ideas from conception to execution, or “how research is born in a place and evolves from there.” The result was a sort of BTS glimpse into the place where Moscone’s magic happens.
The clothes themselves carried a sense of interiority. A double-faced cashmere coat in deep navy swaddled the body and an hirsute sherpa alpaca would be sure to warm it. Softening the lines of a neatly tailored pant suit were cocooning cape sleeves. Other takes on this theme included boudoir-inspired looks like a slip dress with deconstructed knit details at the neckline that allowed room for imperfection, and a column in palest pink featuring what Moscone described as “gestural” draping. This frock, with its vaguely ’30s air, wouldn’t look out of place in the Visibility section of “Women Dressing Women” at the Costume Institute.
In contrast to Moscone’s past two spring collections, which included volume play and prints, fall was reflective and inward. The designer said she aimed to “recontextualize some techniques that I’ve been doing throughout the years in new fabrics and see how the silhouette, reimagined, stands the test of time.” In addition she wanted the clothes to have a “warmer” feel. A series of looks made from silk organza rolled into bias tubes kept things from feeling too staid. These more “out there” pieces, that combined the organic spikiness of a sea anemone with the jazzy movement of a flapper dress, were full of movement and fun. Moscone followed that thread of an idea with super-luxe knits that released into soft fluffy fringe at the hem and brought the collection back around to a cozy place.
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