Walking into Diesel, you were likely either to have a mini panic attack over the thousands of trinkets spread across the white showspace’s floor, or experience one of those moments that makes you grateful you work in fashion – for me, it was the latter. Diesel memorabilia, a huge pink pig with a plush snout, “so many dildos”, as one guest pointed out, toy animal tails, dice and practically anything a hoarder might keep stashed away filled the room – 50,000 items, to be specific. The culmination of years of archival bits and bobs. We should have known we were in for a ride when we received a resin yellow banana as the show invite. On the runway, models’ faces were dusted in iridescent or brown-toned body glitter and slipped into crystal-clad denim, spliced jackets, voluminous skirts that swayed with every step, patchwork-textured waistcoats, floral knitted pedal pushers and more print-heavy head-turners.
The fun continued at Marni, where Meryll Rogge made her creative direct debut. Running your own brand and then taking over an existing house, with its pre-existing identity and codes, isn’t easy. But Meryll took on the task with aplomb. The first look – a grey top with eyelets, a black sequin skirt, socks, monochrome kitten heels and a white overcoat – set the tone for a collection rife with clashing colours. More paillettes on dresses and tops followed, jangly necklaces bumped against models’ chests as they walked, animal-print kitten heels stomped by, alongside lace, tactile coats and anoraks. We could barely keep up. It was fun, flirty, and exactly what fashion needs right now.