For some designers, switching to digital presentations has felt like a compromise, but
Taking the iconic fashion show scene in the 1939 film, The Women, as inspiration, Scott created a homage to Old Hollywood’s Technicolour fantasy but modernised it with his casting. The show takes place in a salon with a rotating stage, which allowed him to explore different fashion vignettes. Filmed over three days in LA, Scott assembled a multi-generation, supermodel cast, with cameos from the likes of Mae Musk (Elon’s model mum),
The designer argued that the diversity conversation was easier to have on film than on the catwalk. “Film lends itself to having different ages and body types and personalities at the same time. On a catwalk, your eye judges, too much the difference, but this makes it richer,” says Scott. As always, his sense of fun and fantasy was strong. Each Vignette allowed him to explore different characters, from the sassy businesswoman in her pinstripes (and wearing a tie as a bustier), to the farm girl in her chic sack dress or the cultured gallery-goer in technicolour biker suits, “they looked like they’d jumped out of a comic book from the 1940s.”
For the Moschino faithful there was plenty to revel in. An upside-down jacket with bustle arms was, “fully giving homages to Franco Moschino. It’s an archive piece that I’ve revisited,“ says Scott. Miranda Kerr did her twirl in another Franco trope, a cloud sky print shirtwaister. Whilst Scott added his own touch to another trope, the iconic dairy cow, with a pair of gold hoop earrings. “I wanted to play with a lot of iconic Franco-isms – that surreal, tongue-in-cheek element he did so well.”
His final shot was of Dita on Teese in a red fishtail gown turning to reveal a heart-shaped cut out over her perfect bottom. She said yes, right away to the idea. “She said, ‘I’m starving for glamour’,” recalls Scott. After a year of lockdown, so are we and this was just the eye candy we needed.
Photography courtesy of Moschino.