No prints? Well, not quite, but the will was there. Said Massimo Giorgetti: "I started with no prints. With the decorations as the new prints. And that is, a little bit, a revolution in MSGM." Giorgetti is striving to expand his repertoire for Pre-Fall, but not so far as to alienate his hyper-expressive base. Thus those decorations were an eye clash, incorporating cover art from the Beastie Boys (naif robots and cartoony sci-fi) and the Chemical Brothers (cod spiritual symbols), plus the gloss and pop of the Memphis Group and the sensuous geometry of Art Deco. With some paisley applied, too, for good measure.
Those elements were stirred, set, and then served via beaded teardrop inserts on cowboy shirts or chunky panels on sleeveless (um, printed) silk tops. These were worn against synthetic toned jacquard skirts impacted with stars or embroidered with nostalgic, rockabilly-touched motifs—jukeboxes and guitars. There was a killer pink overcoat that fairly quivered against a cute, Quant-ish, raw-edged zinger of a yellow frock. Color-strafed jersey dresses—one mid, one full—with asymmetrical articulations at the midriff were another Giorgetti first for the season. This poppy pentimento of a collection saw an additional layer of intensity applied to MSGM'S blisteringly bold canvas.
