27 February 2026 |
Meryll Rogge’s debut show as creative director of Marni asserted a clear recalibration of the brand’s identity – not a reset, but a return to its core codes, filtered through her own perspective. Rather than distancing herself from Marni’s past, Rogge leaned into it, pulling forward familiar signatures and reshaping them with subtle shifts in proportion, texture and attitude.
There was an instinctive push and pull throughout. Mountaineering references, inspired by the Prealps bordering Milan, fed into Rogge’s take on Marni’s long-standing tension between utility and decoration. Technical ciré fabrics and substantial leather sat alongside organza, satin and naive embroideries, reinforcing that contrast. Broderie anglaise, polka dots, gradient stripes and patchwork patterns nodded to the house’s visual language, while amplified stitching and reversed seams made the act of construction visible.
Sportswear elements were absorbed into tailoring, with utilitarian shapes elevated through fabrication and finish. Oversized sequin embroidery appeared on otherwise practical cotton pieces, while familiar accessories like the Fussbett sandal and Trunk bag returned in reworked form.
Importantly, Rogge approached Marni as a wardrobe for all genders, focusing on the relationship between garment and body rather than rigid categories. The result felt direct and grounded – recognisably Marni, but sharpened through her lens, with a renewed emphasis on instinct, individuality and the pleasure of getting dressed.
Photography Courtesy of Marni.
