Marni

MILAN, September 27, 2009
By Sarah Mower
Many thoughts chase through the mind while watching Marni. To start with, you're curious about what's new: This time, the girl's got a hippie head scarf tied over artfully disheveled hair; dangly flower earrings; a terra-cotta duster coat over odd, stripey leggings. You wonder if you're getting the point—are the silky, floppy trousers and jackets pajamas? You fret over how difficult the muted plaster pinks, mousy beiges, and rusty browns are to name. You smile at the fact that Marni polka dot comes in spots of variegated sizes. You clock a subdued Deco twenties thing going on in the knits. You like the high-waisted, vertically striped knitted skirts, and write down "return of kitten heels." You note the vague link between some puffy-collared, putty-colored sleeveless jackets and the military trend. You're sure you get that dangly earring now. You get a bit bored. You perk up at the bright red and yellow blurry fifties flower prints and the sequined jazz-age chiffon bits and pieces. And then, when the finale finally comes, and the girls file out at high speed, you think, "Oh, that looks good, all together."

In other words, it felt like a longish haul to sit through this Marni show. It could have done with a harder edit and more of Consuelo Castiglioni's much-loved summery print and color. But then again, the cumulative effects are gently compelling, and if this collection won't change the face of fashion, never mind: Its followers will like it just the way it is.

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