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



MSGM first made its mark via its youthfulness -something which, for a long time, was in short supply in Milan. Massimo Giorgetti's trading on both that perception, and that appeal, despite the fact the label is approaching its first decade in business. Nevertheless, this season's show began with pulsing Acid house music and fluorescent tubes blinking to a rave beat -even though the designer's self-declared favorites run more the path of MGMT and The Strokes. "It's a moment of energyé, he said backstage, in front of an inspiration board pinned with images of teenage revellers sometime in the early Nineties. "I wanted it to feel like you'd just come out from a rave, euphoric !" How to reflect that in the clothes ? Massimo Giorgetti latched onto the work of Massimo Vitali, an Italian artist whose photographic works center around crowds of people, much like the bobbing heads at a rave. The Italian designer reproduced those images on his clothes, mixed with images of hyper-colored trees pulled from Beastie Boys videos, and a bunch of florals that seemed like the chintzy foliage MSGM has been drawn to before, but turned out to be an image pulled from the Bruce Weber–directed video for the Pet Shop Boys's "I get along" (here). The varied images blurred fuzzily into one another : heads looking like roses, roses resembling the bleached and stone-washed denims that often bottomed-out the look with slender jeans. "Hazy, like memories", said Massimo Giorgetti. "It's not a chemical vision !" Sure, but the eye-boggling warped argyles wriggling across intarsia knits and poplin wound up pretty trippy. The garments themselves were fuss-free and basic : sweaters and sweatshirts, the season's must-have nylon parka. On the top, the shapes were either tee-shirts and knits oversize and multilayered, or shrunken tight against the body like early-Nineties clubbing gear. There was lots of denim, a uniform for the under-thirties. Straightforward. At times, there were slight shades of Raf Simons to the clothes. Which is understandable : the influence of the Belgian designer on the whole of fashion is marked, and many of the subcultural styles Massimo Giorgetti referenced indirectly have been mined by Raf Simons too. A few others, late of the twentieth and early of the twenty-first centuries, have been shaped by the Fleming's aesthetic.

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