Moodboards are out of fashion. Or or least that’s what Massimo Giorgetti believes. “I wanted to work on the now,” he said backstage before today’s show. Hence, no references. The past isn’t inspiring enough for a world not in great shape. People want safety, and they want to look ahead. But what’s ahead?
Giorgetti doesn’t pretend to have answers. He knows that fashion can only play a small part in making people’s life better—but this is the tool he has at his disposal. “I don’t want to talk about politics, this is a dark, disquieting moment, and my priorities as a designer and a fashion consumer are shifting,” he said. “What I have a feel for now are consistent, well-made things, not fancy things.”
The first 10 looks of his collection were an impactful statement in total black—not the typical feisty explosion of MSGM sweat shirted energy. A boxy sharp-cut jacket in fuzzy black scuba worn over skintight techno lycra leggings read as a sort of manifesto of MSGM’s in-flux situation, which even included a long evening dress in dramatic black satin with sprouting feathers at the collar. Unheard of at MSGM until today. “I’m having a serious total-black moment,” said Giorgetti. For the first time in many years, he was sporting not his usual oversized logo-ed hoodie, but a black tailored blazer from the men’s line. “Men look good in tailoring, no question,” he said. “I’m 45; I’m not a kid anymore. I’m an adult, and I’m actually enjoying it.”
Giorgetti focused more on shapes, and increased the quality of the fabrics. Style wise, the collection ticked all the boxes of Milan’s emerging (or already emerged) trends: sweeping greatcoats; minis versus maxis; precise tailoring; allover black; chunky knitted furs; slightly oversized blazers worn on bare legs as coat dresses; a hint of twisted Milanese bon-ton. The only trend lacking here was the ubiquitous slinky bodycon-ness. Although Giorgetti doesn’t really do sexy, there were a few skin-baring options to keep MSGM party animals happy—strapless or see-through tops over bralettes, ultra-mini minidresses in bonded brocade, barely-there miniskirts kept together by knotted bows.
Despite the heavy use of black here, Giorgetti isn’t attracted to darkness. He’s a born optimist, and he can see a silver lining even in the most dispiriting situation. He can’t help but be drawn to color, the stronger and more acid-hued the better. In the second part of the collection, he gave in to his unconditional love for an eye-popping palette. Citrus yellows, quartz greens, metallic mauves, emeralds, and orchid pinks made for a slightly overpowering counterbalance to the neat drama of black. MSGM stalwarts rejoice: the leopard isn’t ready to change his spots just yet.
