Moschino F/W 2016
Moschino F/W 2016

What do the Moschino and Oscar de la Renta collections have in common? I know, you never expected to see that question asked, did you? The two collections would seem to be about as far apart as humanly possible. Yet, they share a very large element this season: bows. Very large, impossible to miss bows. The only significant difference between the two is that Peter Copping puts his in the back of the dress while Jeremy Scott puts his up front … then sets it on fire.

No, I’m not kidding. Someone cue Jim Carey for a sequel of The Mask because we need someone to say this collection is sssssssssssssssmokin’. There was a warning in advance for anyone who had asthma or other breathing problems, but there were still plenty of people coughing, and one front-row guest bolted for the door the instant Jeremy turned the corner on his finalè walk. I’m just going to guess that the little smoke capsules hidden in the layers of the dress won’t be present in the commercial version, but wouldn’t it be cool if they were?

Moschino has always been an anti-establishment brand, but most seasons it is picking on a particular theme such as Barbie or fast food. This season, Scott played it cool by starting with the best-looking biker gang to ever come down a runway. Have you ever seen a leather train on a dress? There’s one here. Biker hats and jackets, leather corsets, denim shorts, full-length leather jackets and tall boots consumed the first half of the show. But just in case one might get the impression that Scott’s edge was too rough, he tied the loose ends together with those very large, brightly colored, taffeta bows.

Most impressive pieces from this part of the collection were head-to-toe leather ensembles covered in chains precisely draped to look like a human skeleton. Sure, it’s going to be incredibly expensive, but you know you want that look. This is a level of cool that just doesn’t come along often enough. You can’t let this one pass you by.

There are always two parts to a Moschino collection, though. And the second part would almost look as though Scott had gone traditional with a set of lovely ball gowns except for one thing: they’d been through a fire. A handful were still smoking. Now, did Jeremy actually set a match to these delicate fabrics after they were so carefully constructed? I suppose that’s possible, but the burned places seemed a bit too precise and the carbonization of the material would cause it to deteriorate rather quickly. Instead, these are skillfully crafted and cut pieces that are going to look just as deconstructed in three years as they do now.

Then, there’s the chandelier dress. Think giant hoop skirt, but with candles going up and crystals going down and practically impossible to navigate on the runway. It took over four minutes for the poor model to make the three turns on this carpet-covered catwalk and she didn’t return for the finalè walk. While this is the one piece that has tongue’s wagging, it’s strictly for show and we’re not likely to see it ever again.

Although, I’ve been wrong before and the look is just bizarre enough to fit the red carpet at a Tim Burton opening.

As much as I tend to dislike the disruptive element behind Moschino, this is a collection that twists creativity until it screams. Just beware of those t-shirts before you buy one. I’m pretty sure that logo is a uterus. Don’t say you weren’t warned.

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