Moschino Menswear Spring Summer 2015 London
The furore over Jeremy Scott's arrival at Moschino had little to do with the designer's suitability for the role (it's hard to think of anyone else on the fashion scene today, in all honesty, who could do such justice to Franco Moschino's brand of joyous irreverence) - and everything to do with the brash McShino tactics he used for his first show earlier this year. For many, the feeling was that Scott's trash-and-grab appropriation of American fast food icons had cheapened Moschino's legacy, playing the label's rebirth for easy laughs and instant impact. And yet in the short term, at least, it's paid off: there's not been a front row all week without at least one of Scott's French-fries phone covers, and the show has been - hands down - the most talked-about of the week.
It was also Scott's chance to answer his critics. And he did it by appealing to the one emotion that lasted in people's minds, long after Moschino first faded from being the Ab-Fab height of fashion: affection. For anyone who'd lved through the Nineties, everything about the show (from the club-classic soundtrack to the tongue-in-cheek street styling, to the exuberantly sexual mood) was unashamedly, optimistically nostalgic. Mesh racerback vests and trackpants, came splashed with the label's trademark gilded logo, and overlaid with bunches of tiny logo-ed bags, and teamed with logo-strapped shoes, and topped off with logo-ed baseball caps - lest anyone was in the slightest danger of missing the point.
And the rest of the collection followed suit, from denim separates covered in flags-of-all-nations smiley faces, to tailoring emblazoned with glittering dollar signs, to accessories executed in tongue-in-cheek approximations of Vuitton, Hermés and Chanel. Scott has always been deeply attuned to the power of branding and logomania: one of his best own-label outings was the gameshow-themed collection from 2001, where his Barbie'd models wore clothes carpeted with banknotes - each note bearing the designer's own face. And in 2014 he's designing for a very different consumer, in a set of endlessly self-referential, intensely self-aware circumstances: the teasers from the resort collection which punctuated the show consisted largely of flowing kaftans and veils, all proudly stamped with the pointedly parodying tag: FAUXSCHINO.
It's not, necessarily, what Franco Moschino would have done. But you can't base a future on second guessing what might have been. This was a collection to make one generation happy. It'll be fascinating to see how it resonates with the next.