The real sentence comes after the introduction
Meryll Rogge’s second Marni collection avoided another grand identity statement. Instead, she returned to motifs from her debut and sharpened them: what deserved to remain, what could disappear, and where more tension might live.
Raw calfskin, appliqués assembled from found objects, hardware at exaggerated or miniature scale and deliberately visible construction suggested that making itself could be the aesthetic.
Sustainability as an action
Material from the previous show’s set was remade into paper-airplane invitations. Reuse feels credible when it becomes part of the production language. Rogge is beginning to find her cadence at Marni: she offered no final answers, only better questions.
