Massimo Giorgetti dubbed his show Interlude. Not because it was a quiet, understated collection by any means, but because he had asked attendees not to post any photos from the presentation to social media. Backstage he said he was concerned about the industry’s fast pace and the way it leaves customers with a been-there-seen-that feeling. “I do this to protect the work, for the magazines, for the stores,” he said. It’s an interesting move coming from Giorgetti. His MSGM line gained traction in its early days via street style images, which are essentially an online phenomenon, and he’s a savvy Instagram user, with more than 200,000 followers on his brand’s account and nearly 100,000 on his personal one. He, of all people, wants to turn off the valve to all that free publicity? Well, it looks like the ban didn’t quite stick in any case. A quick search of #MSGM an hour or two after the show produced hundreds of images. Giving up social media is easier requested than actually done.
As is the Giorgetti way, this collection provided plenty to tempt the Instagrammers—all the layers, the logos, the irrepressible mash-ups of prints. He said that the roses and the polka dots were revivals from his first collection five years ago. If they were, the filter was different this time. Giorgetti gave the clothes more of an avant-garde spin. He supersized puffer coats or converted them into slick puffer skirts. He added a net veil to one look, and spliced another together from stripes, florals, and dots. And he sucked all the banker-ness out of banker-stripe shirts by pairing them with lacquered lace and paillettes. There were shades of Vetements in those askew button-downs and the flower-print velvet knee boots. As for the gabbing-ladies prints and embroideries, they were bonkers in a way unique to Giorgetti and MSGM.