Marco Zanini is no rookie in the fashion system. With a background that counts experiences at Versace, Halston, Schiaparelli, Rochas and Santoni, the designer has, over time, developed a cult following his appointment at Rochas.
It comes however, as a surprise, to why an experienced designer like Zanini would want to take a ‘gamble’ on himself and launch his own brand, especially nowadays, in a significantly unstable period for young and independent labels. Yet, Marco Zanini took a leap of faith, launching his own label a year ago.
“My ZANINI brand comes from very different premises than I have ever done in the past: the search for my sincere and individual voice represents the focus of what I am doing, regardless of any other type of concept,” explains the designer.
Maturing a design process which stems from a deep understanding of fabrics and textiles, the designer launched a brand that voiced an urgency to go back to the roots of purity, after a long period of disillusionment with the system. It isn’t the first time a designer expresses a disaffection towards the changed rhythms of the fashion system. However, it became Zanini’s occasion to finally get out of a choir which had, over time, become out of tune, an industry that had stopped focusing on quality at the expense of quantity.
And independence, even economic is, what Zanini had noticed could be the only way one could compromise as little as possible.
“My small brand wants to offer an independent point of view aimed at a niche of consumers who are more aware, more selective, more demanding and educated to an above-average sartorial standard, which today has been sadly lost,” he states.
This season, the designer developed a collection which represents the development of what he started doing with the previous two: a fall/winter 2020 collection whose sentimental starting point was an exploration of traditional English wool flannels. Soft, oversized silhouettes enveloped the body in the form of oversized skirts and midi dresses, while mannish two- and three-piece suits were cut in wool flannels that he lined in white linen. Zanini presented a collection made up of few, well-constructed looks which exuded the poetic flair of the golden age where everything was sewn by hand.
However, given the state of unprecented state of emergency we are living in, what does the future hold for the designer’s brand? How will he face the precariousness of an industry living on the edge?
“At this very serious moment I believe only in the modesty of not making reckless predictions. I also believe that the dignity of one's convictions does not need slogans now to assert itself. Those who, like me, have dedicated their recent work to a more virtuous ethic can only hope that this terrible emergency will lead to a greater collective consciousness and a new-found - necessary - upward tension on the part of a totally saturated system that in the in recent years has sought only numbers and consensus, slowing down so the development of an authentic aesthetic discourse through dangerous dynamics of exploitation and sterile common minimum denominator,” Zanini concluded.