Bad weather scuppered plans not only for Gucci, where Sabato De Sarno’s first outing had to be moved indoors, but also for MSGM, which had to relocate too, ditching the open-air modernist space where Massimo Giorgetti had planned to show. But the ever-optimistic designer took it in stride. Backstage, he said that “in the end, this was an accident that mirrored the spirit of the collection, which was born out of collisions, accidents, clashes, and crashes of all my passions—art, music, design.”

The collection had an upbeat rhythm and a quirky vitality, conceived as a visual mash-up of Giorgetti’s current obsessions. An eager collector of upcoming young artists’ work, he profusely poured his favorite of-the-moment artsy references into the MSGM percolator. Not everything jelled, but Giorgetti’s joyful candor and refreshing enthusiasm in a general moment of fashion dullness made up for a certain lack of cohesion.

“It’s a playful collection,” said Giorgetti. He certainly had a blast twisting and knotting tops and minidresses with trailing ribbons, making puffy crinolines that sprouted under technical polo shirts, embroidering crocheted rambling roses onto supersized cargos, and printing crisp oxford shirts with pixelated brushstrokes. What would fashion be without healthy doses of madness and the thrill of undiluted, nonsensical fun? We’d all die of boredom yawning in our front-row seats. With Chicks on Speed (of “Euro Trash Girl” fame) on the soundtrack, Giorgetti made us smile, long for disco balls, and tap our feet to the beat. “MSGM is a happy brand that loves to connect, be contemporary, and make mistakes,” he said. “Life generally meanders, and it’s almost never straight.”

This article was originally published on Vogue Runway.

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