This article is published in issue 24/25 of Vanity Fair on newsstands until June 21, 2022.
Once upon a time there were superstar stylists, jealous of their inventiveness and not at all inclined to share it with others in the trade. At a certain point the era of collaborations began: different worlds ready to meet for a special project in which to share different imaginaries. And then it came Moncler Geniusa beautiful and good revolution in the way of conceiving certain dynamics of fashion.
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Remo Ruffini, visionary president and CEO of the brand, has an idea: instead of choosing a single designer to entrust the creativity of a special collection for several seasons, create a hub of exceptional minds capable of working together while continuing to cultivate their own individuality. Thus was born in 2018 Moncler Genius, the universe in which very different designers coexist (from Pierpaolo Piccioli to Craig Green, to Hiroshi Fujiwara), each intent on defining their own vision of Moncler that alternates cyclically in the brand’s stores, thus creating continuous interest. Over time, some have alternated, leaving room for new names, including Jonathan Anderson, whom the fashion community loves madly for his label. JW Anderson and for the supercool steering he gave to Loewe, of which he has been creative director since 2013.
The third chapter of 1 Moncler JW Anderson arrived on June 9th and the Irish designer is proud of it because, as is increasingly the case, he manages to incorporate almost philosophical reflections into the fashion message, without the garments losing their immediacy. In the balance between complexity and freshness, the concept of abstraction plays an important role, through which it triggers a process of limitless creativity, where visual power explodes in naive accents.
What fascinates you most about being part of Moncler Genius?
“I’ve always been a huge fan of the brand and felt truly honored when, in due course, I was asked to join Moncler Genius because there is an incredible level of design behind it. Plus, they are able to do things that I would never be able to accomplish, that’s the real magic. In general, I am very attracted by the idea of ​​functionality and at the same time of protection, of warmth, of intimacy that the duvet offers. It is a material of great versatility due to its ability to create volume, and in fashion, volume is something exciting to play with ».
For this drop coming to stores, what did you focus on?
«I started from the abstraction that at the moment I understand as an obsession with the textures of fabrics, the fact that garments can convey a different feeling from what you would expect when looking at them. In the last two years people have developed the desire to live tactile experiences, to explore a more intimate touch in materials ».
Why do the public love fashion collaborations so much?
“I think it depends on the power of novelty in the minds of each of us. Through the clothes we try to rediscover ourselves and at the same time we try to go further in the definition of our aesthetics, choosing different paths. Collaborations amuse me because they put you in a position to use a different part of your creativity ».
What is the meaning of fashion in general today?
“Something very different from twenty years ago. Today fashion is seen as a serious experience and people feel responsible for what they buy and how they build their wardrobe: in 2022 you buy an exceptional piece because you age with you. As time passes, I wonder more and more about the dichotomy between reality and non-reality, about the need to go beyond certain boundaries. If fashion does not undertake to overcome certain barriers it becomes retrograde, repetitive ».
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Source: Vanity Fair
