Moschino S/S 16
Moschino S/S 16

Maybe Jeremy Scott is losing his touch. Just maybe. I’m accustomed to getting to this point in the day and yelling and screaming about how absolutely devoid of any redeemable value the Moschino collection is and here we are, feeling more like this one was a let down. There wasn’t a constant stream of outrageousness. Nothing made me angry. In fact, I actually laughed at the two pieces that are supposed to resemble the giant brushes at a car wash. In a lot of ways, the more costumed pieces reminded me of something I might see in children’s programming. This just doesn’t feel right.

Here’s the deal: Scott is working off a road construction theme. Where do you suppose he got that idea? While it would be impossible to draw a direct correlation, I find it interesting that just last February British accessories designer Anya Hindmarch used the exact same theme for her fall/winter show, and her handbags and accessories were much better than anything we saw on the Moschino runway today. Add to that the fact that Hindmarch ended her show with the London Gay Men’s Chorus. By comparison, this Moschino show was downright boring.

What we saw at the beginning of the show was entirely predictable: 50s era silhouettes made of dayglow yellow and orange. Cute, bright under the lights, but not anything that’s likely do excite a seasoned fashionista. I would have thought that if anyone could pull off a cool design made of caution tape it would be Scott, but no, he takes the easy way out with a caution tape print on black that gives him more fabric but isn’t nearly as imaginative. The giant caution tape bow? He’s done big bows before. This was a yawner.

When he does finally get around to the more costumey pieces, which doesn’t happen until he puts a small traffic cone hat on a model in look 15, they’re underwhelming when compared to his own previous performance. That’s the rub here. We’re not comparing Scott to anyone but himself and that’s where he’s coming up short. Finally, at the very end of the collection, he gives us three dresses fashioned to represent 50s convertibles and those are absolutely brilliant, right down to the lit tail lights in back. Why couldn’t the entire collection have been that level of exciting?

Moschino as a very dedicated fan base that delights in its absurdity and showing off its over-the-top styling. I’m sure they’ll still buy up the orange safety net dresses and the traffic sign ensembles, but it’s just not going to be the same. My review of Anya Hindmarch’s FW collection is here. She did it better. Sorry, Jeremy. Try harder next season.


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