Learn more about Moncler, the famous Italian apparel manufacturer and lifestyle brand founded in 1952 by René Ramillon most known for its down jackets and sportswear. Moncler took its name from the abbreviation of Monestier-de-Clermont, an Alpine town near Grenoble, France.
Moncler is a French company of sportswear. The brand was founded in 1952 in Monestier de Clermont, in the French region of Isère. It was a small factory, producing equipment for mountain activities. It is depositary of dozens of patents.
The first down jackets, symbol of the brand, were born in 1954. They were intended to be worn over the workers suits. The brand name comes form the abbreviation of the location, Monestier de Clermont.
Moncler & Lionel Terray
The first to notice the down jackets and understand their potential is Lionel Terray. This world famous alpinist becomes a key figure in the history of the company. It is indeed under his pressure and advice, that the company develops ‘Moncler pour Lionel Terray’. It is the first specialized line for mountaineering at high altitude. The brand is also linked to some great expeditions like the first Italian ascent to the K2 of 1954. Even more, the French one to the conquest of Makalu in 1955. And also the one to conquer Alaska in 1964.
In 1968 the brand becomes the official supplier of the French national team of alpine skiing during the Winter Olympic Games held in Grenoble. Innovation and research lead to the creation of lighter, more aerodynamic and performing garments. They are also suitable for sports competitions. These jackets that are the precursors of contemporary down jackets.
The down jacket
In the’ 80s and ’90s Moncler down jacket makes its entrance into the city. It turn into a cult object, with its stitching and its “painted” effect. During this period also comes the symbol of the brand, the famous cock. In the eighties, the Moncler down jackets become the symbol of Paninari, the only youth culture ever produced in Italy. A symbol of fashion at the time.
In those same years, Moncler starts collaborating with the stylist Chantal Thomass. She replaces the zippers with buttons, adds fur collars and borders. She also adds embroidery and precious materials, such as silk and sable. Since then, the brand has focused on design and excellent collaborations, even coming to experience incursions into the world of couture.
For Moncler’s50th anniversary, in 2002, the book “Now and … Moncler” was published. 1952-2002. Edited by Baldini Castoldi Dalai. It shows photos, drawings and graphics depicting the history of the brand, from 1954 and the first duvet.
In 2003 Remo Ruffini, Chairman and CEO, took over the company. Ruffini designed the strategy of the global down jacket. He gave shape to a range of unexpected aesthetic, functional, technological and high quality achievements. Always in a harmonious balance between mountain and city. The Moncler jacket becomes iconic, going beyond trends, widening the boundaries of the brand up to include all the seasons of the year.
Collaboration & Advertising
Since 2004, the brand has began a strategy of identity consolidation. It started several collaborations with iconic fashion brands, including Junya Watanabe and Comme des Garçons.
Moncler’sadvertising campaigns also pursue uniqueness as a distinctive sign. During the relaunch phase with the arrival of Remo Ruffini, the adv campaigns centered on the product and the origins to transfer its heritage. Subsequently, the campaigns focused on the brand. They were photographed by famous photographers such as Bruce Weber and Annie Leibovitz. They were able to embody the brand DNA and highlight the values of the encounter between photographic art and a nature that transforms in culture.
Since December 2013, Moncler has been listed on the Milan Stock Market. The company produces directly and distributes Moncler clothing and accessories through direct boutiques. And also through the most exclusive Department Stores and international multi-brand stores.
The presence in the most important multi-brand and luxury department stores and the selective location are clear expressions of the values of the Brand. Together with a distinctive store concept that is always consistent with the brand’s DNA. Moncler has always placed in the customer the cornerstone of every strategic decision. This was further strengthened in 2016 with the launch of an important project of Retail Excellence.
At the end of 2017, the Group has a turnover of Euro 1,193.7 million. It marks a double-digit growth of all the main economic indicators. Another important milestone in the success of Moncler.
On the 20th of February 2018, Moncler presents a new creative chapter: a vision of the future. It exceeds the temporality of the season and establishes a daily dialogue with the consumer. Moncler Genius. Eight exceptional minds, working together (but individually), have interpreted the Brand. Everyone focuses on a single project that, interacting with others, defines the various aspects of Moncler’sidentity.
Franco Moschino (1950-1994) was an iconoclastic designer who never wanted to be known as such. He arrived at the top by overturning all the rules: of good taste, style, advertising, presentations, and runway shows. The industry called Moschino the enfant terrible of Italian fashion, which means a person who behaves in an unconventional or controversial way.
Franco Moschino studied Fine Arts at the Accademia di Brera in Milan. He planned to be a painter, but his role as an illustrator for Versace in 1971 set him on the fashion road. In 1977 he was fashion designer for the historic Italian label Cadette, where he honed his skills and developed his own precise stylistic language.
In 1983 he started his own label, with an explosive mix of paradoxes, challenges, and elegance which criticized and mocked the excesses of the fashion system and the paroxysmal society which was the image of the 1980s. The company founded by Franco Moschino, Moonshadow S.r.l., debuted with its first collection, which was ironic, surreal, ingenious, perverse, and totally represented Moschino’s style. Ironically, his style declared “stop the fashion system,” but its success was because of that system. A theorist of freedom and improvisation, he claimed not to be an inventor, but a “restaurant trying to provide those well-cooked traditional dishes which were invented by unknown cooks.”
His work did indeed revisit all the aesthetics of the century, adopting and reworking them with a hybrid injection of humor. He replaced the buttons of Chanel-style suits with windmills, and embroidered black sheath dresses with their price. He made skirts out of ties, jackets with fried eggs on the pockets, T-shirts emblazoned “Moschifo” (schifo means “disgusting” in Italian), dressed printed with the words “no dress no stress,” tops with trompe-l’oeil breasts.
He continued to break the rules with multiple sleeve shirts, multicolored blazers, waistcoats printed with cartoons, suits with appliquéd symbols of geese, Andalusian skirts made out of tartan, and toreador-style evening jackets. His personal style, despite being unpredictable and striking, was in fact based on classic, well-made shapes, perfectly cut and with seductive details which proved attractive to all markets.
Cheap & Chic
The first line to be launched was Moschino Couture, and soon after came Cheap & Chic in 1980, Donna and Uomo in 1986, Moschino Jeans, lingerie, swimwear, bags, scarves, jewelry, perfume, all of which broke with fashion clichés. Publications, advertisements, and runway shows were similarly full of surprises. He would send pairs of knickers to actresses instead of invitations, he made his models go down the runway on their knees, he appeared in his own adverts in disguise, and created a fake Cardinal to promote his range of jeans.
Moschino created a scent for men with a two-headed bottle, and his women’s fragrance was provided with a drinking straw. He published Dadaist catalogues and created every kind of provocative entertainment imaginable, saying
“There is no creativity without chaos. The Moschino concept is based on complete freedom of choice. There are no rules. You wear whatever color you want, and if you still like what you were wearing last year, you can wear it this year, and next year if you want.”
All of this of course rang a strange note in a period where prêt-à-porter ruled, and labels dictated fashion.
The Exhibition: Enfant Terrible
In 1993 the show Ten Years of Chaos was released at the Permanente di Milano. It was a journey through thousands of Moschino’s creative anomalies, culminated in an exhibition of paintings where the designer revealed to the public for the first time his original persona, that of a painter. The exhibition was held at the end of 10 years of the life and work of this enfant terrible of Italian fashion, who in this short period had left an indelible mark on the world which he so wanted to challenge, becoming himself a cult figure, and obtaining cult status for his clothes.
Moschino Acquired by Ferretti Group
Moschino passed away on September 1994 from AIDs. His staff, under the leadership of his closest collaborator, Rossella Jardini, have continued his work and succeeded in the miracle of consolidating the success of the brand. In 1995, the city of Florence granted Franco Moschino the Pitti Immagine Award. Later, in June 1999, for the first collection of Moschino Life, presented a new version of the famous “survival jacket”, designed in 1991. Later in Fall, the brand was taken over by the Ferretti Group. In the following years, many exhibitions took place, always praising Franco and his professional life. In March 2001 the brand presented a chronological collection of images of the windows designed by the charismatic “monellaccio” (rascal). Two years later, during summer, some paintings that Franco Moschino made in 1989 were exhibited for the first time in Rome.
In 2002 the brand released the memorable “On the road” men’s collection, combining vintage pieces with sports and formalwear. This was a paradoxical look, covering every possibility, and contradicted everything with which we were familiar. The collection was ingeniously invented; the disorder was delightful. The same approach was taken for the womenswear collections in the cheeky 2003-2004 fall/winter show, which saw a complete mechanic’s overall decorated with frills, and a necklace made out of a metal spring-catch.
Prêt-à-jouer will always be the way for Moschino. The range continues to produce the thousand anomalies which continue, as in the past, to turn some items into genuine status symbols. Irony and unbridled fantasy go hand-in-hand, particularly in the Cheap & Chic diffusion line. One style, many styles, for those with more enthusiasm than money. Fashion as the art of putting an outfit together in total freedom. Blazers with no buttons which fasten with a safety-pin, or sprinkles of sequins on patched pants.
Later in May the company entered a joint venture with Bluebell Far East (49.9%), Moschino (50.1%) created Moschino Far East, to aid distribution in the Far Eastern market, including Japan. Sales of €70 million were envisaged by 2006. This is an agreement that seals the long collaboration between these two businesses: Bluebell has been distributor for Moschino in the East since 1989, apart from in Japan, where distribution has been managed until now by Sanki Shoji.
Then in July, they signed a licensing contract with Sector to produce a collection of watches under the name of Moschino. The Sector Group, with 15 production partners worldwide, had 150 employees and sales of around €90 million in 2001. It was responsible for around 14% of watchmaking in Italy.
In 2002 the label celebrated its 20th birthday. The first Parisian store (with seven windows) was opened at 32 Rue de Grenelle, in the 7th arrondissement, and a shop was opened in central Moscow, in the Petrovsky Passage Mall. The Moschino brand has a distribution network of 24 dedicated stores, and 31 franchises in department stores. Shares in Moschino Spa are held 70% by Aeffe and 30% by Sportswear International, and in 2001 sales equaled €285 million.
In July 2003 they launched a store in the Rome full of the new Moschino watches, the heart-shaped “Time 4 love” and “Time 4 Peace.” Each has charms representing symbols of peace, love, a lucky horn, and the initial “M” of the late designer. “I love 4 ways” has a linked chain, inspired by old pocket watches. “I love Moschino” has a leather strap, and “My name is Moschino” a traditional metal strap.
A year later, Vincent Darré, head of creation and development of the Moschino collection from 2001 to 2004 left the label to become artistic director at Emanuel Ungaro.
In 2007, under the leadership of Thierry Andreatta (CEO from 2007 to 2009), Moschino opened a new boutique in New Dehli, India, where it first expanded in 2005. In May, the first headquarters in Eastern Europe was opened in Lithuania.
In 2007 important agreements were concluded with several partners. Including Scienward International Holdings Limited for the franchise and distribution in China, Allison for creating and distributing Moschino’s eyewear, Binda Group for the manufacture and marketing of watches and jewelry. In 2008 the teen and baby collections were launched too.
The same year, in collaboration with Independent Ideas, Lapo Elkan’s communications agency, Moschino presented Love Moschino collection, a new face for the twenty-year Moschino Jeans collection. The strategy was to renew it, making it more appealing for new generations.
In March 2008, the new fragrance Hippy Fizz was launched in the market, produced and distributed by Euroitalia. Then, in September, the boutique of New York was opened. Also, in 2009 stores were opened in Dubai, Saudi Arabia and Shanghai. Then a year later in Vietnam. At this point, Moschino’s expansion now reached every corner of the world.
The original interest of Franco Moschino towards modernity has remained at the center of the company. In 2010, under the supervision of Rossella Jardini, in collaboration with Jo Ann Tan, Maison Moschino was inaugurated in Milan, now NH Milano Palazzo Moscova. Moschino represents a fairytale world where fashion is a means to celebrate the values and the joy of living.
Active in the social, Moschino signed numerous collaborations to help children and associations. In 2007, Moschino supported Amref by selling some of its design on Yoox. In the same year, Unicef asked the brand to make a plexi doll for fundraising for the prevention and care of children with HIV. The following year, in collaboration with the Isetan Shinjuku Department Store in Tokyo, Moschino presented a series of mini dresses from the spring/summer 2008 collection, whose proceeds were donated to the Red Cross of Tokyo to support children.
In 2014 the brand started to relaunch, with the appointment of the new creative director, Jeremy Scott. Scott was born in 1974 in Missouri, USA, and studied at the Pratt Institute in New York. In 1990 he launched his own line with a fashion show in Paris. Scott’s brand has a very sophisticated pop style, using very bright colors, lettering, symbols and icons taken revisited from the eighties and nineties. The sporty style helped the designer to forge several partnerships with activewear brands as Adidas.
The company appointed Scott after Rossella Jardini, former Moschino creative director, presented her last collection collection for the Italian fashion house during Milan Fashion Week. Jeremy Scott has been noted in recent years also for a very direct communication on social networks, where he posted accessories and extravagant clothes. Also, his friendship with international pop stars like Rihanna, Nicki Minaj and Katy Perry, who began to wear his clothes at concerts and public appearances, thus increased his fame.
In February 2014 the first collection by Jeremy Scott was presented, inspired by some American icons, including McDonald’s. Someone criticized the choice, others appreciated. Another novelty is the elimination of Cheap & Chic line and the birth of the “Boutique Moschino” line. The brand announced that the “Moschino Boutique” line targets a wider market and that prices will be about 40% lower than the main line.
The first positive results of the new course of Moschino contributed to Aeffe sales results, which acquired the brand in 1999. There were in fact revenues of €251.5 million, an increase of 0.2% compared to last year. Also, the sale of the Spring/Summer 2015 collections has increased by 15% from a year earlier. Then, in 2015 Jeremy Scott wins the “Womenswear Designer of the Year”.
At the same year, Moschino and Barbie teamed up for a partnership, produced a Moschino Barbie doll and 8 pieces Moschino ready-to-wear collection. Then, during 2016 spring summer fashion week, Moschino launched a new capsule collection called “Clothed For Construction.” This capsule collection is also designed by Jeremy Scott and only available on online.
In July 2017 Moschino launched a limited makeup collection by collaborating with Sephora. This collaboration bring out the best combination of beauty products and luxe accessories. The brand’s signature playfulness together with Sephora’s high quality beauty products served both bold Moschino women and everyone else.
In the world of Antonio Marras, art and fashion fuse to produce a raw interpretation of his imagination and creativity, influenced by his Sardinian roots. Born in Alghero, in 1961, his father Efisio Marras owned a number of textile shops, which Marras took over after his death and revolutionized into fashion boutiques.
In the world of Antonio Marras, art and fashion fuse to produce a raw interpretation of his imagination and creativity, influenced by his Sardinian roots. Born in Alghero, in 1961, his father Efisio Marras owned a number of textile shops, which Marras took over after his death and revolutionized into fashion boutiques.
His debut into the fashion world emerged after being invited by an Italian fashion house in Rome to design a prêt-à-porter collection in 1987. Marras showcased a collection under the “Piano Piano Dolce Carlotta” label. The collection was inspired by the 1964 American psychological thriller film, Hush…Hush, Sweet Charlotte, which reflected his passion for movies. His multifaceted skill set, being comprised of the cultural intelligence, artistic enthusiasm driving his self-expression, and the know-how inherited from his family’s textile business paved his journey into the world of fashion.
He presented his first haute couture collection in Rome in 1996, inspired by the Sardinian aesthetic, presenting the “ligazzio rubio” which translates into the “red thread” the latter became the persistent aesthetic element of his style. In 1999, Marras presented his first prêt-à-porter collection in Milan invoking elements of the Sardinian poetics.
In December 2001, Stardust published a book on Antonio Marras, written by Cristina Morozzi. The book was showcased in the Cappellini showroom in Milan with photographs by Berengo Gardin. Shortly before the presentation of the menswear collection at Pitti Uomo, a striking exhibition opened in Via dei Banchi Vecchi in Rome, at the A.A.M (Architecture and Modern Art) gallery.
Some of the simple, male inhabitants of Lodine, a small Sardinian village in the middle of the countryside, met with Antonio Marras and agreed to take part in his project. They became models for a day and Marras, together with the photographer Salvatore Ligios, revolutionized the traditional rules and stereotypes of virility with images of 20 Sardinian men. Circolo Marras was born, a project combining art and fashion, where the designer’s clothing is interpreted by everyday people, captured by Ligios’s photographs and text by Flavio Soriga.
The following year, a major milestone in the journey of Marras was the debut of his menswear line in a spectacular presentation at the 62nd Pitti Immagine Uomo, in the Torre del Gallo, a historical building located on the hills of Arcetri in Florence.
Antonio Marras Art Director of Kenzo
In 2003, Marras was appointed by the LVMH group as the Art Director of Kenzo, a journey the lasted until 2011. During that time, all collections were planned at his home in Sardinia with other Kenzo officials staying over at his place for few weeks. Marras moved to Paris to the headquarters of Kenzo to oversee the progress while maintaining his Sardinian roots as a source of inspiration without wavering from Kenzo’s code of aesthetics.
Antonio Marras’s Collections
Antonio Gramsci (like Che Guevara) became icon-as-decoration for Antonio Marras’s T-shirts and shirts. In black on white shirts or in fuchsia on baggy sweatshirts. At the start of the runway show, the designer read from one of the Letters from Prison. It ended with a shower of letters raining over the spectators like subversive flyers. The invitation included Gramsci’s phrase “I hate the indifferent”, taken from La città futura.
In March 2003 the Antonio Marras Fall-Winter 2003-2004 collection presented at Milan Fashion Week was inspired by Eleonora d’Arborea (1340-1402), the last Sardinian queen, famous for having created the “Carta de Logu,” a form of ante litteram constitutional map. The focus was on black, with a few red touches in the kilt worn over baggy pants with large boots. Gauze, silk, velvet, embroideries, soft jackets, and voluminous skirts, all decorated with different chains in metal and folk-style bijoux.
Later in May at Masedu, the museum of contemporary art in Sassari, Massari presented Il racconto della forma, a stylistic journey through clothing, with designs, photographs, videos and installations. The Spring/Summer 2004 collection for Milan Moda Uomo was dedicated to the sea. It was inspired by the film Fitzcarraldo and the book Sea and Sardinia by D.H. Lawrence. The set design for the runway show was the ocean liner, the Conte Biancamano, in the Museum of Science and Technology in Milan.
July 2005 marks the inauguration in Alghero of the exhibition Minyonies, curated by Giuliana Altea and Maria Luisa Frisia. The name of the show comes from the word in Alghero dialect that means ‘childhood.’ Thirteen artists of the most recent generation presented their work, focusing on the home setting and family emotions.
10 Year Anniversary Book
In 2006, Antonio Marras celebrated his ten years of career with a book “TEN YEARS AFTER” in collaboration with Russian American photographer Yelena Yemchuck. The book was made of different kind of papers and sewn by a thread called “ligazzo rubio”, a stripe of red fabric that has become a distinctive kind of his production.
In 2007, Marras signed an agreement with Interfashion, a Stefanel Group owned company, for the licensed production of his second line I’m Isola Marras, which was later appointed to the company Loma. In 2008, Marras designed the costumes for the famous opera musical “Orfeo ed Euridice”, that was presented during the inauguration of Teatro Grande of Alghero’s Congress Palace. In the following year, Marras established his first flagship store in the Middle East, in collaboration with the luxury retailers Al Ostoura International; this marked his first attempt of expansion in the Middle East.
Although he never completed a formal education in art or fashion, Marras received an honorary degree from the Brera Academy of Art in 2013. Furthermore, his involvement spanned beyond the worlds of fashion and art. In 2015 he started supporting NEVER GIVE UP, a non-profit organization for the prevention and treatment of eating disorders. In that same year, he signed a two year collaboration with Segno Italiano agency in Milan for consultancy services on space management for Salone del Mobile.
In 2015, the Antonio Marras global sales were estimated at about $11 million. Currently, the brand is presented in seven stores located in Moscow, Kuwait, Milan, Alghero, Seoul, and most recently a boutique-restaurant in Dubai. The Antonio Marras line is distributed at around 140 multi brand stores worldwide, while the I’m Isola Marras line is available at around 300 stores. Marras aims to further expand in the United States and China.
In a spectacular exhibition at the Triennale Design Museum in Milan, Marras presented “Nulla dies sine Linea. Life, diaries and notes of restless man” which celebrated his artwork over the last twenty years and his visual trajectory. The exhibition lasted from October 22, 2016 till January 21, 2017, marking the birthdays of Marras and his wife.
Missoni is a luxury Italian fashion house known for their colorful knitwear. The company was founded by couple, Ottavio (“Tai”) and Rosita Missoni, in 1953. Read more to discover the couple built a multi-million dollar luxury business.
The company was founded by Ottavio (Tai) Missoni (1921) and his wife Rosita Jelmini (1931) in 1953, also the year they got married. They met in London during the 1948 Olympics. Ottavio was the Italian 400-meter running champion in 1938, world student champion in Vienna, and a finalist in the 400 meter hurdles. He also had a small firm in Trieste that produced tracksuits. The tiny Rosita, was young, but determined, and came with fashion experience gained. She gained this experience from her family’s firm, which produced shawls and linens for the home. The couple began with a small workshop in the basement of their home in Gallarate.
Their first client was the Biki boutique in Milan and then, in 1958, La Rinascente. Anna Piaggi was the first person to cite them in the press (Arianna, 1965), which also gave them their first cover in 1967. The first runway show, a collaboration with Emmanuelle Khanh, came in 1966. In 1967, they debuted at the Palazzo Pitti in Florence, with a preview of the nude look. In 1969, they built the factory at Sumirago, with their house attached. Although, it was still a house and workshop, their success was by then worldwide. In 1970, Bloomingdale’s opened a Missoni corner in their New York headquarters.
The same year marked the invention of the “put-together” look, a free casual mixture and juxtaposition of stitches and designs. This became the distinctive feature of the Missoni style. Also, mixed with patchwork, colored stripes, and the black-and-white and rainbow “flame motif.” These were followed by Greek key motifs, grids, Scottish checks, folklore designs, and especially abstract African designs.
Materials included knitwear, furs, felts, tweeds, and elasticized fabrics. The variable thickness, textures, technical inventions, and color combinations of the yearn link to abstract and informal art. Decorative elements were taken from Anglo-Saxon applied art, a careful evolution of forms, and above all freedom and joyful creativity. These are the elements that have turned Missoni into a way of life, and their garments loved objects. All their garments are flattering in shape, color, and substance.
Womens Wear Daily listed them among their top 20 Fashion Powers, and Vogue America among the top 10 European designers with the greatest influence on international clothing trends. In 1972, The New York Times wrote:
“Missoni makes the best knitwear in the world and, according to some people, the most beautiful fashions in the world.”
In 1973, Missoni was awarded the Neiman Marcus Award. It was the first in a long series of recognitions: The Tony Award in 1976; the Premio Italia in 1986; and the Pitti Immagine in 1994. Rosita received the International Design Award in New York; Ottavio was made a Cavaliere del Lavoro in 1993, received the Pitti Immagine award in 1994, followed by the Honorary Royal Designer for Industry honor in 1997 in London. Towards the mid-1970s, they added furnishing fabrics and household linen to their collections of knitwear, accessories and jewelry. Ottavio began to display his tapestries in art galleries, first in Venice and then throughout the rest of the world.
In 1976, the first boutique was opened in Milan: 5 more followed in Italy, 2 in Paris, 3 in Germany, 3 in Japan, another 5 in the Far East, and 1 in New York.
Missoni in the Arts
Ottavio, who always wears a sweater, is listed among the ten most elegant men in the world. Also, a flower and a star were named after Rosita. They were a highly viewed couple in the fashion world.
25 years of their work was celebrated, in 1978, at the Rotanda della Besana in Milan, with a retrospective that moved to the Whitney Museum of American Art in New York two years later. In 1994, in Florence and later in Milan, the Missoni world was described in the exhibition, Missonologia. In 1995, Gallarate celebrated with the exhibition, The Ottavio and Rosita Story. In 1996, there were two exhibitions in Japan: at the Sazon Museum of Art and at the Nagoya City Museum. Missoni creations feature in the permanent collections of the MoMA in New York, the Dallas Museum of Art, and the Museum of Costume in Bath. The Missoni pair have also designed costumes for the opera (Lucia di Lammermoor at La Scala in Milan, 1983) and for ballet (David Parsons Dance Company, 1994).
The Next Generation
In 1997, the first all-fabric collection was created, produced and distributed by Staff International. In 1998, Missoni M was presented for men and women, in collaboration with the Marzotto Group. In the same year, the Missoni company acquired a new headquarters, a 6-storey building in Via Durini, Milan. Rosita and Tai moved there with their children, to whom they passed on the firm in 1997, at the peak of a series of new successes, feted by the press and consumers for their exemplary faithfulness to their own style.
Angela (1958) became art director, responsible for style; Vittorio (1954) commercial director; and Luca (1954) technical director. Nine grandchildren make up the Missoni tribe, guaranteeing the future of the firm. And so the tradition continues, with strong family connotations and an artistic-artisanal character, which, despite its vast expansion and international success, has made the name of Missoni so loved, and not just in the worlds of fashion and culture.
In 2000 Luca Missoni presented his first menswear collection for winter 2001-2002. Knitwear is reinterpreted with superimposed graphics, stripes, zigzags that look like brushstrokes, and flame motifs. It was the fruit of continual research into textiles, stitches, weaves, and patterns that has always been a part of the history of Missoni and of fashion itself. The collection played on the contrast between dry, plain fabrics, and soft silks and luminous knits. For Spring-Summer 2002, faded colors, pierced cotton piquet, very light cashmeres.
Later, in December of 2001, the Missoni Sport shoe collection would officially be produced and distributed by Big Time. The license is worth more than €13 million. As for the rest of the production, Missoni announced,
“We will not create any more licenses. From 2002, we will produce and distribute the Missoni Sport line ourselves.”
Powerful investments were made in a 2,500 square-meter space near Samirago, dedicated entirely to the Sport line. The shops and corner spaces were also restructured. Within the brand, the search for new types of fabric and knitting techniques continued. The white, beige, and gray flame motif remained popular.
In January 2003, after approximately 20 years of collaboration with Seibu, the company changed its Japanese distributor for its primary line. It signed a five-year distribution agreement with Kashiyama Onward, one of the largest textile industrials. Japan represents a market worth roughly €15 million and 25% of the brand’s business. The Missoni company closed 2002 with a turnover of about €130 million, which about €62 millions were made from its primary line. Also, new for 2003, celebrations for the company’s fiftieth anniversary, marked by two exhibitions, one in Milan and the other in Tokyo. Also, the opening of a new 70 square-meter boutique inside Harrods in London.
In April 2003 the new showroom was opened in Via Solferino in Milan. The building was an umbrella factory in the late nineteenth century, it is situated at the end of a courtyard in the historic center. Vittorio Missoni explained that the location is perfect, not just to present the different lines but also for shows, exhibitions, and other types of event. The former-factory belonged to distant relatives of Rosita’s grandparents.
Missoni Celebrates 50 Years
In May 2003 Missoni celebrated 50 years in business with a large runway show in the Town Hall square in Vienna, for the opening of the 11th Life Ball, a traditional charity evening held to raise funds to combat HIV/Aids. Later, in June the menswear collection, which represents roughly a third of the company’s turnover, was relaunched, focusing primarily on the development of accessories. In 2002, Missoni made €51 million on direct sales, compared to €48 millions the previous year. Exports (main markets Japan, USA, and Germany) accounted for more than 85% of the entire business. Alongside multi-brand stores, the company owns 12 directly controlled own-brand boutiques and about one hundred franchises.
In June 2003 at Milano Moda Uomo, Luca Missoni presented his collection: knitwear with a thousand colors mixed together, tight, micro polo necks in cotton crêpes printed with lozenges, sweaters in viscose and tulle. Including, cardigans with large, ostentatious zigzags, very light vests in linen thread, in a small net weave, or interspersed with lurex threads, transparent tops that simulate tattoos, and sweater-shirts in silk and lamé for evening wear.
In July 2003 fashion and design for the Japanese car Mazda, the sponsor of the AltaRoma runway shows. After the series of MX-5 sports cars, with exclusive interiors in numbered series, Missoni created the colors and interiors of the latest MX-5, made as a one-off and sold in an online auction to raise funds for AISM (Italian Multiple Sclerosis Association). The fashion house celebrated its first half century.
Through November 2003, the celebrations continued and new Spring-Summer 2004 collection was presented in Tokyo, at the Yoyogi National Stadium. In addition, Tai and Rosita displayed more than a hundred outfits from the retrospective held in Milan the previous month, including the very famous blue tracksuit marked “Italia,” by Ottavio for the national athletics team in 1948, and the first gold Lurex suit from a far-off 1958. Japan, which represents a fifth of the company’s turnover, loves the Italian style and the event attracted 3,000 people.
January 2004, a contract was signed with Pagnossin, the head of the Richard Ginori 1735 group. It created the license for a line of tableware and household objects designed by Rosita, part of the Missoni Home project. Later, in April the third Golden Dame Award is held at the Poldi Pezzoli museum in Milan. “The people who make Milan great” include Ottavio and Rosita Missoni. The license for the production and distribution of the spectacles and sunglasses lines was agreed with Silvio Vecellio Reane (Allison, It. Holding Group), for a five-year period. Later, in September the license linking the company and the Marzotto Group was renewed until 2010. The launch of a women’s perfume signed by Estée Lauder was announced for Spring 2006.
The Universal Expo 2005 is held in Aichi, Japan, and Tai was invited to represent the Friuli Venezia Giulia region. The stand includes the installation “Harmony from Diversity.” The work consists of mannequins “dressed” completely in patchwork knitwear and was the result of collaboration between Ottavio and Luca Missoni (Tai and Rosita’s second son) and the designer Angelo Figus. Later, in March the first Missoni shop in Catania was opened. Also, The Aramis and Designer Fragrances division of Estée Lauder and Missoni create a license that enables the beauty colossus to produce and distribute the perfume line.
In November 2005 Missoni signed a licensing agreement with Rezidor Hotel Group in order to create Missoni Hotel chain. The idea was to open 20 hotels around the world under Missoni trade mark. However, the agreement was terminated in 2014 and the two hotels under Missoni name, one in Edinburg and one in Kuwait, were rebranded and stayed as a property of Carlson Rezidor.
In September 2011 Missoni made a 400-piece collection in collaboration with Target. The collection was sold out in one day. Considering great success of the first collection Missoni collaborated with Target again in 2014, this time with Target Australia. Due to high interest for the collection, Target’s website was down on the day of launch.
2013 was a hard year for the whole Missoni family, Vittorio Missoni, CEO of the brand, died in an airplane accident near the coast of Venezuela. Then, 4 months later his father and creator of the brand, Ottavio Missoni, died in his sleep.
In April of 2015 MA*GA Museum in Gallarate (VA) is dedicating the exhibition MISSONI, L’ARTE, IL COLORE to Ottavio and Rosita Missoni. This exhibition created a dialogue with twentieth-century European art. the exhibition explored the creativity and entrepreneurial spirit of a great Italian fashion house. The extraordinary culture and brilliance of its two founders.
Also, in May of 2016 The Fashion and Textile Museum hosted the exhibition MISSONI, ART, COLOUR, in partnership with The Woolmark Company. It explores the influence of 20th-century European art on Missoni’s fashion and textile designs
In 2017 Missoni created a capsule activewear collection for luxury e-commerce site mytheresa.com The collection include six pieces, created by Angela Missoni and the face of the campaign is Jennifer Missoni, Angela’s niece. On the last Fall Winter 2017 collection Angela Missoni gave a speech after the fashion show, reminding people to embrace unity, human rights, and family. She stated that pink is the new black, and walked with her whole family who are key representatives of Missoni’s knit unity.
In 1993 the brand, Miu Miu, is created as a womenswear line. Miuccia Prada, the designer, choose the nickname to bring the concept of femininity to the extreme. With a light, ironic style, and at times naive. The point of this brand for Miuccia is to offer a free expression zone.
Later, in 1994 Miu Miu launched their Men’s line. It is a contemporary take on Prada Men’s line. When the Prada brand is reaching the minimalist pinnacle, Miu Miu proposes an idea of naïve sophistication.
The Inspiration: Miuccia Prada
Experienced by nature, Miu Miu empowers a sense of vivacity and youth, understood as a mental condition, not an ancestral one. As a designer, Miuccia Prada focuses on moods that affect styles. For her, it is always irrelevant to determine the material.
Convinced by the changing nature of fashion, Miuccia Prada manages to capture a sensual and glamorous restlessness that will soon become an indispensable part of the Miu Miu DNA.
Miuccia Prada focuses on a clientele that is particularly attentive to the new, unswerving, and sophisticated trends. Miu Miu expresses Miuccia Prada’s vision of an alternative style. Always characterized by a strong personality, completely independent of the Prada brand.
Turning fashion into a mental state and using change as a tool, Miuccia Prada has built a world around Miu Miu, a trademark and at the same time a new way of communicating.
The Movement Growing
Later, in 2002, Fabio Zambernardi, becomes the design director of both Prada and Miu Miu. Also, both brands combined a total of 160 direct sales outlets.
A year later, a boutique debuts in Tokyo, in the Shibuya district. Also, both Prada and Miu Miu enter a ten-year license agreement with Luxottica Group, a world leader in the optical industry, for the production and distribution of sunglasses and watches.
In 2005 the Miu Miu Men’s line is temporarily frozen. Later, after the trials of presenting the collections at the New York, London and Milan fashion weeks, Miu Miu finds its final and natural location in the fashion calendar of Paris in March 2006. By 2007, Miu Miu’s annual sales of womenswear had risen to $297 million, and as it grew in sophistication. Later, in 2008 the Miu Miu Men’s line is closed permanently.
Miu Miu Brand Identity
Comparing with the fashion world in its undisputed capital, Miu Miu uses the magnificence of the Parisian scenery as the ideal stage for its experimental essence, combining the savoir-faire of Parisian couture with a rare and sophisticated elegance, never forgetting irony.
Featuring a state-of-the-art spirit, Miu Miu blends in a constant cross-fading concept of indoors / outdoors, town / country, male / female, couture / street, past / future. The prints create excesses, breaks and counterpoint. Footwear, ironic and eccentric, are a focal point. The boundaries between high and low, trash and elegant are deliberately ignored.
The dialectic of the bourgeois style is then revised. The contrasts are ostentatious rather than hidden. Each piece is made with careful attention to detail. In this perfect frame insert strangeness, contradiction, and intentional errors. Arguing and exquisite finesse are the keys.
Groundbreaking Advertising Campaigns
Innovative advertising campaigns have marked a striking styling: initially shot in a neo-realistic style by Corinne Day and Ellen Von Unwerth, Miu Miu’s images soon developed their unmistakable uniqueness by choosing celebrities as a testimonial.
Since the debut with Drew Barrymore in 1995, the cast has changed constantly and abstractness of narrative style has become a trademark: Kim Basinger, Maggie Gyllenhaal, Vanessa Paradis, Stacy Martin, Hailee Steinfeld, Chloë Sevigny, Amanda Seyfried, Elle Fanning just to make some names, they all participated in print campaigns, made with a cinematic style. The intention is always to define a vision of fluid and spontaneous femininity.
A volatile touch of nonchalance and a sense of senseless unreality persist as a fundamental note of the essence of Miu Miu, constantly changing and never equal to herself.
Women’s Tales 2012
Women’s Tales is an ongoing short film series for the female universe. Made by important international filmmakers with different intellectual formations express their vision of femininity.
It invited filmmakers to celebrate femininity in the 21st century, exploring it with a critical eye. This means embracing the infinite complexities and contradictions of women to reflect and excite them.
In the series of shorts, the Miu Miu collections play a prominent role, alongside famous actresses and models. The Miu Miu leaders act as a contrast to narrative drama. Power, desire. Vanity, refinement. Rites, rules. Dreams, nightmares. Even the smallest moment in a woman’s daily life contains many facets. Women’s Tales narrates these moments and emphasizes the fundamental, enriching role of clothing.
International Store Openings
Miu Miu opened its first boutique in China in the MIX in the city of Shenzhen in 2009. Later, Miu Miu expanded into the North American market. A store was launched in Houston, Texas, in The Galleria during the summer of 2011. Also, in Short Hills, New Jersey, in the fall of 2011. Miu Miu also opened their first Australian boutique at Chadstone Shopping Centre in Melbourne. Then, a second opened at Westfield Sydney in 2011. A branch opened in Glasgow, Scotland, in 2010 and is situated in the Fraser’s department store.
On March 26, 2015 Miu Miu presents his new project with Swiss architectsHerzog & de Meuron. The 720-square-meter building, located in Miyuki Street in the Aoyama district of Tokyo, is the heart of Japanese brand activities. The project is placed diagonally with respect to the famous Epicenter Prada, also designed by the Swiss study. Contrary to the fully glazed Prada building, the discreet Miu Miu metal facade looks dull and hotter. The typological model chosen by the architects is that of a box placed directly at the road level, with the lid slightly raised to mark the entrance and allow passers-by to look inside.
In 2013 Miu Miu, along with Prada, created a collection of over 40 exclusive evening cocktail dresses for “The Great Gatsby”.
In August 2015, Miu Miu launched its first fragrance which captures the spirit of the brand. The surprising combination of lily of the valley and the Akigalawood, creating a feeling of natural and timeless in a contemporary way.
Today, Miu Miu’s worldwide expansion strategy is based on occupying some of the world’s prime retail positions in cities including New York, London, Paris, Milan, Tokyo, Beijing, and Hong Kong. MiuMiu’s global boutiques are the bricks and mortar embodiment of the experimental spirit of the brand. Continually evolving, the shops suggest a dramatic but playful attitude to shopping and dressing up.
Italian brand of ready-made men’s fashion. It was launched in 1993 as part of a collaboration between the designer Fabrizio Fabbri and Elio Cravero, owned of Elfra, a Turin based clothing company. It debuted at Altro Uomo in Florence. In 1994 the collection was enriched with several items of knitwear and was presented in New York and Cologne, resulting in a doubling of turnover. In 1996, it debuted at Milano Collezioni Uomo. Today the brand is distributed throughout Europe, the United States, Japan, Taiwan, and Hong Kong.
Italian brand of New York fashion. Created in 1997, when two Italian stylists decided to transport the colors, silks and cashmeres of India, modified in accordance with Mediterranean tastes, to America’s fashion capital. Malatesta accessories (shawls, sarongs, and bags), designs by Cristina Gitti are now on sale in some of the most prestigious shops and department stores around the world, including Bergdorf Goodman in New York, Harvey Nichols in London, and Joyce in Taipei.
A mid-length for skirts and dresses that, as a consequence, has struggled to make a mark. At the end of the 1960s, the midi appeared with its message of restoration: almost twice as long as the mini and only a little shorter than the maxi, it was often worn with knee-high boots. But attempts to establish this fashion met with little success. Only a decade later, with the recession that occurred in the 1970s — in the West skirt lengths are an economic barometer — did skirts lengthen again and the midi resurfaced, although without a precise role. Now it is often simply referred to by the French word, longuette, and every now and then it plays a part in designers’ collections.
Rushdi (1965). Saudi Arabian designer, born in Jeddah. From an early age he traveled around the world with his family. Fascinated by fashion, Arab textiles and western designs, at high school he studied the history of his favorite designers: Chanel, Dior, and Balenciaga. After school he studied architecture at university. In 1995 he founded Malhas, with its headquarters in Milan. In 1996 he presented his first collection with a show at Milan’s Central Station. In 1998 he opened his own brand store in Via Santo Spirito in Milan. Malhas currently employs 20 members of staff.
&Quad;2001. Malhas launched its first line of accessories.
A brand of ready-made clothing and the name of about forty Dutch boutiques. It constitutes a small empire in Holland, Belgium, Germany, and England and developed out of a distribution company — Peek and Kloppenburg — in 1976 as a result of an intelligent strategy, that of targeting the youth market even at the cost of exaggerating the designs.
&Quad;2003. The entire production was amalgamated under the two brands Peek & Cloppenburg and Mac & Maggie.