«Let’s Close the Fashion Industry and Reopen It»
It was a dreary morning when we met Adrian Appiolaza at Moschino’s atelier in Milan. Showing us the collection set to debut on the runway the following day, the designer pointed to one of the garments hanging on the long racks lining the room: «This was inspired by a Pistoletto piece of art, the box» he told us. «The idea was to take random, poor materials and create this dress that we deconstructed to create this kind of ruffle». The concept of deconstruction is, in fact, «something very much Moschino». The theme extended to a stunning headpiece mimicking the cartoon birds that swirl around a dazed character’s head: Appiolaza drew inspiration from «birds’ nests: something very humble but also creative». Among the other illusionistic accessories scattered across the atelier’s tables were a box of faux apples labeled Mele Merito (an untranslatable pun) and a stack of newspapers crafted entirely from leather. These playful pieces were part of a collection that, for its clothing, relied on neutral tones and fabrics with porous, soft textures, all inspired by the Arte Povera movement, the central theme of the collection showcased at the latest Milan Fashion Week.
Appiolaza framed the collection as a lighter counterpoint to his previous work: «Last season was very somber. I was in a very somber mood too. And I wanted this collection to be lighter». He elaborated on the philosophy: «I loved Margiela, who was very artistic in how he constructed collections and conceptualized ideas. So I thought I could create a version of Arte Povera for Moschino, which was also perfect since Franco Moschino used the unusual to create fashion». This approach aimed to honor the spontaneity of Moschino’s founder, Franco: «He was a person for whom creating was walking down the street and seeing something, wondering if it could go on the head or on a jacket. I think the freedom to be spontaneous and creative with what’s around you is what I wanted to do with this collection, with materials that seem humble but then transform into something beautiful».
The concept of art as the show’s thematic backdrop extended to the venue, which Appiolaza envisioned as «a space between a museum and an art gallery,» and even to the seating, described by the designer as «a mix of our classic wooden chairs and then boxes used to transport museum artworks». For the designer, art isn’t just something to hang on a wall but something to wear. His reputation as a fashion archivist preceded his role as creative director, and his personal archive deeply informs his work. He began collecting to «learn about fashion and draw inspiration», primarily through the works of Comme des Garçons and Yohji Yamamoto, whose «point of view, choice of fabrics, how they constructed clothes, how they conceptualized them» he admired. Only later did that «pile of very interesting clothes» become an archive: «I started around 2005. Then in 2010, I began collecting Margiela. And then the idea came to put it all together chronologically, to understand which pieces were from which collection, to find reference images. Then my mission became recreating the looks. And at that point, it became more like an obsession to find more pieces». His latest acquisition? «Last weekend, I bought a Comme des Garçons dress from the Monster collection of 2014 that I found in a secondhand store in Paris».
While the world of Japanese archival fashion has profoundly shaped Appiolaza’s methods, studying Franco Moschino’s historical pieces prompted a reflection on what fashion can say today: «Franco was a subversive designer. His art was about expressing his ideas, whatever was in his mind, whether it was about the fashion industry or politics or social classes. He was very outspoken on all these issues back then and had, you know, a very, very powerful voice. He made many enemies, but at the time, it was possible to navigate those kinds of situations». Things are different today. «The political correctness we live with is really a block,» he said. «If you want to succeed, you have to remind yourself that you can speak up to a certain point, or about certain topics, but not others. So for me, when I create my collections, there’s always a sort of subliminal message that some people get and others don’t. And I think that’s a small way for me to not lose that part of the brand’s DNA».
Carrying forward Franco Moschino’s legacy today is more about authenticity than accuracy: «To express ideas, I prefer a more subdued way, I’m more interested in the idea of the irony that Franco put into the brand. He was really outspoken about the fashion system. He could be harsh. Once he made a collection where he portrayed fashion as a vampire». Yet, Appiolaza acknowledges, «if you really go in that direction, you need the fashion system behind you to move forward. Today, it’s important to have not only success with a vision but also on the financial side, and you really need to focus on what you can say and how you can exist in a universe that everyone appreciates without making enemies. These are tough times for creativity. And I’m not just talking about fashion», he continued, «creativity in general has been affected by how society evolves». Social media has amplified the issue: «Since they arrived, everything has become transparent. Before, fashion was more of a niche thing, only fashion people consumed and absorbed the messages. Today, everyone sees them and has something to say. Everyone has the freedom to speak and a platform to do so. In that sense, you really have to consider the context every time you send a message». So, how does one navigate this?
In his method, Appiolaza avoids rigid formulas in favor of intuition: «Every season can start in a different way», he explains. «I don’t like to follow a formula. I prefer to have the freedom, with my team, to be spontaneous. An idea might come from a movie, an exhibition, or a book. It’s really a free process». It typically begins with the first concept, the so-called kick-off, or «the first fitting we do with vintage clothes, objects, or fabrics. It’s like having a laboratory where we play. There’s no single way to start. It’s always very much a gut feeling». As mentioned earlier, this season’s mood aimed to be light, both materially and in spirit: «I was interested in understanding how to apply details and design without being too crazy conceptually, because I think it’s important for people to identify with the clothes». To achieve this effect of lightness in tone as well as materials, Appiolaza leaned on Moschino’s ace in the hole: humor. «Fun is why I came to Moschino,» he explains. «And I wanted to work here because in my career, whatever I was doing or whoever I was working for, the idea of having fun, creating, and making clothes that somehow had a sense of joy was important. Moschino is one of the best platforms to explore and express optimism, since it’s in the DNA of the house».
The designer believes the fashion industry is at a turning point: «Fashion follows cycles. I’m old enough to have seen two or three, from the ‘80s to the ‘90s, from minimalism to the sensuality of the 2000s», he explains. «We’ve gone through an era of fashion where, I don’t want to say pessimism, but darkness was something people identified with. Then with quiet luxury, the idea of fun got lost. I hope the new cycle is full of humor and irony, that people are more optimistic and playful and not anonymous, simple, and minimal». To restart fashion’s creative engine, Appiolaza has a solution: «Individuality», he says without hesitation. «In the last ten years, with the help of social media and how everyone is exposed, I think the industry has become saturated with a very similar message. And I think the first change fashion needs is to have individuality and a vision that feels different from others»
This brings us back to his archive and the past: «Until the 2010s, you knew what each brand would do in terms of aesthetic, and you knew that each time you looked, you’d see a new version of themselves, a new step. Today, unfortunately, if you look at all the brands out there, you no longer know which is which. The message is so monotonous that the idea of individuality has been lost». According to the designer, exercising this individuality today «is almost an impossible task, because the fashion industry has set parameters of what sells and what doesn’t. And everyone feels obliged to fit into a category, which prevents us from being individuals with our own creative vision. Let’s close the fashion industry and reopen it». For instance, Appiolaza believes that today, Lee McQueen «would have been canceled. And he had the guts to scandalize with his vision». This constraint affects Appiolaza himself: «I hold myself back from saying many things I’d like to say. Because it’s not the right time to say them. Creatives with their own brands… maybe they’re the ones who should push more in that direction».
Of course, even in the indie fashion world, the same commercial rules apply: «Everyone wants to make money. Even if new designers have an idea in their head, they’re already influenced by wanting to be part of the fashion industry, by seeking commercial success. The freedom to express yourself without fear, without boundaries, is already blocked». But these truths about the industry’s nature don’t stop Appiolaza from seeking his own answers in his daily work: «Moschino has always been about finding joy in dressing up and feeling like an individual. Franco didn’t think about collections with a fixed theme but about people, real people walking the runway, maybe crazy, but who didn’t care what others said. Like wearing an airplane life jacket over a suit. It’s that kind of irony in dressing up and having fun. And I think that’s what Moschino is about».