Jeremy Scott, fashion’s very own court jester, chose an inside joke as his ruse this season at Moschino, and, ooh, it had a delicious edge. He mocked his peers who won’t stop whining about their — handsomely compensated — workload. “The fashion system has sped up so much that, this time, I didn’t have time to finish my work,” Scott teased backstage before the show. “All I have to show is my sketches.”
Naturally, that wasn’t true. Scott’s collection was more than complete. It was mega-merchandised with clothes, shoes, bags, jewelry and hats galore — to the extent that perhaps a few exits stood to be trimmed. The punch line landed within the first few looks — white dresses and suits scribbled in and mocked up with color and print as if they were still two-dimensional drawings on a piece of paper. The silhouettes were on the dressed up side of the Moschino spectrum, derived from the Eighties with prim suits and nouveau riche poufs. Some were tied off with bows. All were worn with flattened boater hats and tights embroidered with fancy-crude black scribbles.
Like any good performer, Scott sticks to a well-hewn formula: warm ‘em up with daywear that makes

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It was movie night in Milan, with Moncler Genius screening a series of films to showcase a second round of collections from its guest designers and brands on Wednesday night, including Simone Rocha, Craig Green and Noir.
The short videos were projected onto screens or walls in the stylishly rough industrial space across from Fondazione Prada — and the mood was arty and fun. Rocha’s film featured a cast of models, hats wrapped in veils, wearing her techno-Victorian designs and frolicking in the grass or tilling the soil wearing her flower-embellished dresses and apron styles.
The video had a “Picnic at Hanging Rock” feel and was directed by Tyler Mitchell. Rocha said during the event that she wanted the video to have a “dystopian” feel and to show the two different sides to the collection, which featured natural and man-made fabrics such as lightweight nylon, cotton poplin, vinyl and plastic.
“I also wanted to show the models at work and at play, tending and pruning the garden on one screen, and having fun on the other,” Rocha said during the cocktail party in the courtyard of the venue.
Green brought his childlike tent-cum-kite constructions, which appeared in his fall 2018 runway show earlier this

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When Giorgio Armani first raised the big Emporio Armani sign over a hangar at Linate, people were confused, thinking he’d bought the airport. Who could blame them? In 1996, Giorgio Armani was one of the biggest and most thrusting brand names in fashion and the man himself was among the richest people in Italy. Armani might as well have bought the airport: The Emporio sign was a genius stroke of branding in the pre-social media age with hundreds of millions of passenger eyeballs locking on it — and still doing so — as they taxi into, and out of, Linate.
The logo isn’t going anywhere — not from Linate, not from Armani’s labels. At a time when designers are tweaking the look of their logos — Burberry, Berluti and Celine — Armani said he’s keeping Emporio’s as is. “It’s mine and I’m holding it close,” the 84-year-old designer said during a collection walk-through. This was his first show at Linate, and he said he was keen to make a connection between past and present.
That was one reason why Nineties heartthrob Robbie Williams closed the show in a black pleated skirt and matching sequin jacket — and performed later for a crowd

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LONDON — Camille Charrière has been a pioneer of blogging platforms and social media from the get-go. But as the influencer market becomes more and more saturated, she has been experimenting with ways to cultivate her voice and shine a spotlight on behind-the-scenes stories that often get forgotten in the fast-paced world of Instagram.
Her first project came in the form of the podcast “Fashion No Filter,” hosted alongside the writer and fellow influencer Monica Ainley. The duo readily took on the challenge of producing in-depth discussions about fashion by stripping away the visuals and encouraging their listeners to flex their imagination muscles. The result was a series of humorous audios that discussed topics ranging from sustainability to the street-style phenomenon and feminism, with the likes of Roksanda Ilincic, Caroline de Maigret and Chloé president Geoffroy de la Bourdonnaye taking part.
Building on the success of the podcast, Ainley and Charrière went on to produce a documentary with French TV channel Paris Premier that will make its debut on Sunday and examine all things style and fashion through a tongue-in-cheek compare-and-contrast exercise of the British and French fashion capitals.
Here Charrière, who is already plotting season two of “Fashion No Filter” and more

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TAKING FLIGHT–Shoes from Allbirds, the Leonardo DiCaprio-backed sustainable brand have quickly morphed into a consumer favorite. Now via a partnership with Air New Zealand, the buzzy brand has ventured into a different kind of accessory, producing an in-flight eye mask for the first time.
Dubbed ‘the Bird Mask’ the travel accessory is made out of ZQ-certified New Zealand merino wool and castor bean oil-based foam. It includes molded eye indentations which allow for natural eye movement during sleep, and a birdlike beak to act as a seal against the face to block out light.
Air New Zealand, known for its quirky celebrity-filled flight safety videos, has made the mask available on board the business premier cabin on selected North American routes throughout October, including the airline’s service between Los Angeles and London.
“By putting our heads together we’ve created a product our customers will truly value and re-use again and again, while also benefitting New Zealand’s international brand awareness,”  said Air New Zealand chief marketing & customer officer Mike Tod.
“We jumped at the chance to work with Air New Zealand, a brand that similarly prioritises thoughtful design and customer experience,” said Allbirds co-founder Tim Brown. “By bringing our comfort expertise to the Bird Mask, we’ve been able to create

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MOVIELAND AT PRADA: At Prada, Freida Pinto was excited about her latest film “Mowgli,” based on Rudyard Kipling’s “The Jungle Book,” but she was reluctant to provide details about it. “I can’t really say much, we want it to be a surprise,” she said of the movie, which was filmed in South Africa and England. As for Miuccia Prada, she said “we go back years,” remembering she wore a custom-made gown by the designer for the Golden Globes ceremony in 2012.
Spike Lee was in town to inaugurate Fondazione Prada’s movie season and to hold a talk for the venue’s latest exhibition, “The Black Image Corporation,” curated by artist Theaster Gates and he expressed his admiration for Sofia Coppola sitting nearby. “I am just writing right now, it’s early stages, there’s really nothing to talk about yet,” said Coppola, smiling. Asked if she was planning a trip to Basilicata, where her father Francis Ford Coppola owns a luxury resort, she said: “I wish — we’re going to go later in the fall, for Thanksgiving. I always look forward to that. I am just in town visiting friends, I had not been in a while, since eight years ago when I was filming ‘Somewhere.’”

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ONLY THE SHADOW KNOWS: For the first time in nearly 40 years, Andy Warhol’s “Shadows” (1978–79) will be back in New York City next month in a street-front space at Calvin Klein Inc.’s headquarters.
The single painting in multiple parts will be unveiled at 205 West 39th Street starting Oct. 26 and running through Dec. 15. Warhol fans will find a series of abstract canvases stretching edge to edge around the room. The timing will overlap with the upcoming exhibition “Andy Warhol — From A to B and Back Again” at the Whitney Museum of American Art. That retrospective will get underway on Nov. 12 and will run through March. After its Midtown viewing at Calvin Klein, “Shadows” will be installed on a long-term basis at Dia: Beacon in Beacon, N.Y., next year.
That Duchess County town is where the conservation of “Shadows” is underway, compliments of Calvin Klein, Inc. To draw in more people to the company’s headquarters, there will be a series of public programs focused on Warhol. All the anticipated foot traffic to the West 39th Street location will also serve as some branding reinforcement. The Raf Simons-designed collection carries the Calvin Klein 205W39NYC label.
Fittingly, “Shadows” was first presented

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TOY STORY: The teddy bear is back.
Four years after the launch of its Toy scent, Moschino unveiled a new edition of the women’s fragrance on Thursday.
Named Toy 2, a giant version of the teddy bear-shaped glass bottle accessorized the Moschino look Kendall Jenner sported on the catwalk during the brand’s spring 2019 fashion show in Milan.

Kendall Jenner on the catwalk 
Giovanni Giannoni/WWD

Jenner marked the debut of the scent but won’t be the face of the fragrance, as model Devon Aoki has been tapped for the role, fronting the black-and-white advertising campaign photographed by Steven Meisel. In the images, Aoki poses with the bottle while wearing a plain white T-shirt styled with a black studded hat and leather long gloves.

Devon Aoki behind the scenes of Moschino’s Toy 2 ad campaign. 
Courtesy Photo

Manufactured by licensee EuroItalia, the floral woody eau de parfum features mandarin orange and apple notes on the top, blended with magnolia. The heart combines velvety peony and jasmine with crisp white currant, while the dry down is a mix of musk, sandalwood and amber wood.
Toy 2 differs from the previous version also in the packaging, coming in a glass bottle with opaque finishes instead of a furry teddy bear. Golden details

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Sandro Homme’s collaboration with Helly Hansen proves streetwear can be refined.

The Italian lighting company is on display at 10 Corso Como’s new concept destination.