An Exclusive Look Into Marina Moscone Spring 2021

Sunday marks the first official day of New York Fashion Week’s spring 2021 season, set to be an unprecedented series of collections shown digitally, physically — socially distanced or without bystanders — or not at all. In the last seven months, the world has experienced global turmoil and hardships; the fashion industry, with its usual hamster wheel of newness, was forced to stop and slow down immensely. For many, the time has been crucial to step back and understand how the industry should move forward, with important conversations about the fashion calendar, the wholesale model, sustainability and equality all at the forefront. 
Throughout the resort season and in the weeks following, designers worldwide have made decisions based on what’s important for their businesses. The New York calendar is split — a lineup of new and expected talents is scheduled to show through the 16th while New York’s marquee designers, Michael Kors included, have their sights set on mid-October. Even Council of Fashion Designers of America chairman Tom Ford does not anticipate a traditional runway season returning until at least fall 2021 (for the spring 2022 season).
Regardless of date, time or format, a shared value among designers big and small is

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Marina Moscone RTW Fall 2020

“Everyone knows I’m a minimalist, but I think it’s important to convey, too, that being modern doesn’t have to be bare and minimal,” Marina Moscone explained after her intimate and divine fall show, set once again at The Player’s Club in Gramercy Park. Known for tailoring, both sharp and loose, as well as twisted draping and bias slipdressing, Moscone wanted to convey modernist Seventies glamour, the “Anjelica Huston wearing Halston,” type in her designs. Elegant tuxedo dressing came in the form of double-faced, heavy wool suiting and sweeping smoking jackets with bijoux buttons; slinky, twisted slips and tunics also incorporated intertwined, diamanté details. 
The designer evolved her signature solid tunic-over-pant looks into double-faced Scottish Donegal hand-knit sweaters atop dresses with pleated and lace-trimmed hems while familiar, fluid separates were paired with nubby alpaca sherpa topcoats with upcycled mink collars. This importance of tactility goes hand-in-hand with the prominence of artistry within Moscone’s collections. For fall, burnout-velvet stemmed roses and solid black velvet floating panels adorned slips (as well as a singular jade pantsuit) while long, hanging strands were hand-pulled through embroidered leopard patterned transparent organza voile gowns, all of which felt more refined than her prior, more crafty (but still polished) takes. 

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