Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli

Happiness is just a hairflip away.
Chris Crocker


"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford



Attention, all Gen Xers and old Gen Ys : on a scale of 1 to 10, how big an impression did the video for Falco's 1985 single "Rock me, Amadeus" make on you, as a kid ? On the evidence of Jeremy Scott's menswear collection for Moschino, Falco's club-kid take on the Baroque made a pretty strong impression on him. Even though the inspiration was Fellini's "Casanova" and Michel Gaubert's electro version of Beethoven's "5th Symphony" struck up. At any rate, it was virtually impossible not to look at the clothes on the runway in Florence and not cue that music in your head. Moschino menswear was the marquee special guest at Pitti Uomo's Palazzo Corsini this season. And if you believe King of Kitsch Jeremy Scott, the Baroque'n'roll-ness of this collection owed more to that locale and the atmospherics of its aristocratic patrimony than it did to, you know, Falco. He wanted to create a space where the "future met the past" by replicating the frescos of the palace ceilings on the floor and installing a lit-up runway that was part "2001 Space Odyssey", part "Staying alive". The rich embroideries, ruffles, quilted materials, and metallic jacquards on the Moschino runway were culled from history's archive of decadence; even today, a pale-pink-and-gold wallpaper pattern brocade still signifies. The fabric summons, unbidden, visions of Versailles. Here, Mr Scott used it in a tux. Some of his looks in this collection came off a tad clownish. The way to explore a more-is-more theme is with a sense of specificity and some circumspection. The designer seemed, in many instances, to be gilding the lily by piling excess on top of excess -which is the Versace méthode par excellence. To wit, the look that comprised a clever motorcycle jacket with zip-off tails in red and yellow wallpaper jacquard, a contrast cummerbund in the same jacquard, a magnified fleur-de-lis print polo, a bright cravat, and patchwork-patterned bike shorts. Ai ! Mr Scott's more measured looks had a bit more snap -although the measured-ness was relative, to be sure. A shirt and jeans in a crystal print, for instance, would hardly qualify as "minimal". Ditto an anorak printed in a Moschino logo repeat and embroidered with sprightly bouquets of flowers. The real commercial appeal of this collection, though, was to be found in its Formula 1-themed passages. Jeremy Scott purloined the race car graphics and adapted them into tailoring jeans and sweats; you'd have to know more about Formula 1 racing culture than this reviewer does to see a connection between Ayrton Senna's aesthetics and those of Louis XIV, but anyway, there it was. And there, too, were a handful of women's looks, mainly bouffant jacquard or brocade dresses that Mr Scott had scrawled with cartoonish graffiti in order to contemporize the looks. This is the kind of thing Giles Deacon can do with his eyes closed and one hand tied behind his back, and in comparison, Jeremy Scott's gloss felt a little pro forma. Current Moschino campaign star Katy Perry, seated in the front row, may have felt differently, though.

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