Designer Meryll Rogge opened the new Marni collection in Milan, describing the show as the start of a “third chapter” for the brand.
From Belgium to the helm of Marni
Born in Ghent, she first encountered Marni as a teenager in two Belgian boutiques, one in Brussels and another on the coast called La Vie en Rose. The experience left a lasting impression, noting the tactile feeling of the garments. After studying at the Royal Academy of Fine Arts in Antwerp, she secured an internship with Marc Jacobs, a stint that turned into seven years in New York. A later return to Europe saw her join the studio of Dries Van Noten before launching her own label, which earned the Grand Prix Andam. The award’s jury included Renzo Rosso, founder of the Only the Brave group, who selected her to lead Marni’s creative direction in 2022.
Within days of her appointment, Rogge immersed herself in the brand’s archives at the historic Milan headquarters. The team uncovered physical garments, digital records, invitations, and other materials dating back to the early 1990s. Early collections were dominated by neutral tones—brown, white, black, and gray—until a red floral motif appeared in 1995. That splash of color resurfaced in the new runway’s opening look, where a red belt disrupted a largely muted palette.
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Balancing heritage and contemporary vision
The collection’s centerpiece featured satin tops with large industrial‑style stitching, described by the designer as conveying femininity, discipline, and experimental tension. A vinyl skirt with a front‑to‑back opening and a reimagined Trunk bag also highlighted the line. Jewelry pieces returned to Marni’s signature leaf‑shaped necklaces, now cast in metal and hand‑painted, while oversized pearl‑inspired earrings echoed a 90‑year‑old woman’s accessories she observed in the archives.
She emphasized preserving Marni’s original spirit while probing “terrains that have not yet been explored.” Milan’s everyday elegance pushed the designs toward a more refined aesthetic compared with the casual vibe of northern Europe. “I work to keep the energy of Marni alive,” she told MFF‑Magazine for Fashion, adding that the brand’s future lies in personal expression and cultural awareness.
In the middle of the show, the set—crafted in partnership with Formafantasma—blended domestic, gallery, and office elements, featuring hand‑painted everyday objects on mirrors. This arrangement highlighted a subtle shift: while the brand remains rooted in its archive, it also reaches toward contemporary lifestyle contexts.
Her background with Marc Jacobs taught her a deep understanding of fabrics and fitting, skills she carries into her current role. Though she no longer maintains close personal ties with former mentors, they continue to support her work through social media interactions. The designer also balances responsibilities at her own knitwear label, BB Wallace, with duties at Marni, relying on a strong Belgian team to manage both enterprises.
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Future outlook
Renzo Rosso and CEO Stefano Rosso have reinforced a culture that values creativity, a stance she finds rare in large fashion groups. She expressed gratitude for the opportunity to shape a brand she has admired since youth, describing the appointment as a dream realized.
“I could not be happier,” she said, adding that the role feels like a perfect match for her passion.
Her vision for Marni includes expanding the conversation around fashion, exploring uncharted design territories, and continuing the evolution of the brand’s aesthetic. The runway’s blend of archival references and modern reinterpretations signals a deliberate effort to honor the label’s origins while pushing its silhouette forward.
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