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



Jeremy Scott's Moschino is polarizing, but undeniably entertaining. His brand of humor is Pop-ier, wackier, more sugary than Franco's, but that's not a negative : Mr Scott is a designer who hits the bull's eye of contemporary look-at-me preoccupations. Everything he shows can be Snapchatted or Instagrammed pretty much without hesitation. The collection he unveiled in a Mayfair church setting was as vivid as ever, yet there was a shrewdness apparent, thanks to collaborative input from British agitprop artists Gilbert & George. "I wanted to do supersaturated clothes, so I had tea with them", he JS. "And as I was telling them my ideas for the collection, they said, 'why don't you take from our archive ?' So from the crosses to the heads to the slogans [which appeared fast and furious on virtually everything] there were so many wonderful things I was able to incorporate". Evidently, G&G's color-rich graphics had catalyzed yet another chromatic tsunami in Jeremy Scotts ever imaginative brain -his Fall collection was a rainbow in druggy, rave-y neon, right up to fluorescent-painted earlobes and coifs. The chapel surroundings called to mind the Limelight (Nineties Manhattan and London nightclubs which were also located in a churches), and some of whose denizens Scott dressed. Denim had a spray-paint treatment, with folds and seams appliquéd on (think trompe-l’œil worn by Nineties clubkids). Awesome Dr Martens–style boots, cutouts of which functioned as the show invite, received the same graffiti. Collegiate stripes were also worked in early, either in scarf or shirt form, lending a grotesquely preppy element. In a way -and this is relative considering Mr Scott's outrageousness- there was also an elemental bloodline in the clothes. "A lot of the shapes are quite simple, and I did a lot of collaging", he said. "Almost like garments put together -like a knit sweater with MA-1 sleeves". Collage can also be attributed to Gilbert & George : Jourdan Dunn -who walked as part of Moschino's women’s pre-Fall, which was shown concurrently- wore a hooded aviator jacket with a knit panel inset down the back and slogan-stamped sleeves. Elsewhere, one notable example of that was SPUNK, which flanked the shins of jeans. Lucky Blue Smith opened and closed the show in Lisa Frank brights, but the silhouette and many other pieces were forthright : a suit up front, and a trench to round it out. With Neneh Cherry, Noomi Rapace, Lucky Blue Smith, Jourdan Dunn, and even Taboo from the Black Eyed Peas on hand, Jeremy Scott, typically, brought a bit of fame and flashbulbs to the otherwise lowish-profile London Collections: Men. And like it or not, that's a huge part of his package, a sort of superficial Pop curation, and extravagance for the sake of fun. As the finale stomped, Michel Gaubert's remix of Madonna's "Like a prayer" came thudding in -and at the line, "everyone must stand alone", you couldn't help but grin. Mr Scott is a lone wolf for sure, but his magnetism means he'll always have a pack in tow.

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