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Observer
21-07-2025
- Business
- Observer
Finally, Another Woman Designer Gets a Big Brand
In the latest move in the unprecedented realignment of the fashion world, Meryll Rogge was appointed creative director of Marni on Tuesday. She will be responsible for womenswear, menswear, accessories, store design and communications, replacing Francesco Risso, who left the Italian brand last month after almost 10 years. Rogge is the 17th new designer named to a big brand since mid-2024, but only the fourth woman. It's a striking imbalance in an industry that is still largely powered by womenswear and accessories, and one that was quick to pay lip service to diversity in recent years but has seemed to retreat from many of its pledges in terms of gender and race. Rogge will become the sole female designer in the stable of OTB, the holding company that also owns Maison Margiela, Jil Sander, Diesel and Viktor & Rolf and that reported sales of 1.7 billion euros in 2024, down 4% from 2023. Similarly, Louise Trotter, who will make her debut at Bottega Veneta in September, is the only female fashion designer at Kering, the luxury group that owns Gucci, Balenciaga and Saint Laurent, among other brands. The other two women who became creative directors of major fashion houses this year are Sarah Burton at Givenchy and Veronica Leoni at Calvin Klein. In a news release, Marni CEO Stefano Rosso called Rogge 'an exceptional creative talent and an inspiring woman.' A Belgian designer who started her career at Marc Jacobs before becoming head of women's design at Dries Van Noten and founding a namesake brand in 2020, Rogge, 40, shares a certain quirky practicality with Marni's founder, Consuelo Castiglioni. It was Castiglioni who transformed her husband's family fur company into a runway name beloved of bohemian intellectuals and art gallerists with a messy bent. In 2012, OTB bought a majority stake in the company, acquiring it fully in 2015. The next year, Castiglioni left, citing personal reasons, and Risso was named creative director. Though Risso's collections could be eye-poppingly imaginative, bristling with three-dimensional metal flowers or covered in what looked like finger paint, they could also seem self-indulgent — fun to look at but hard to wear. Rogge, who is relatively unknown outside the fashion world, became the first woman to be named designer of the year at the Belgian Fashion Awards in 2024 and was the recipient of the Andam Prize earlier this year, one of fashion's most prestigious awards. In explaining the selection, Guillaume Houzé, the president of Andam, cited Rogge's ability to turn 'ambiguity, hybridity and the unexpected into allies.' Like Castiglioni, she is also adept at marrying the conceptual to the commercial and has an affinity for color and the sort of print combinations that are alluring in their oddity. In the news release, Rogge called joining Marni 'both humbling and inspiring.' A spokesperson for Marni did not specify when Rogge would unveil her first collection. She did say, however, that the designer planned to maintain her own line and split her time between the two brands. Multitasking, as it were. —NYT
The Star
21-07-2025
- Business
- The Star
Who is Meryll Rogge, the under-the-radar fashion designer now heading Marni?
Meryll Rogge, who is relatively unknown outside the fashion world, became the first woman to be named designer of the year at the Belgian Fashion Awards in 2024. Photo: Instagram/Marni In the latest move in the unprecedented realignment of the fashion world, Meryll Rogge was appointed creative director of Marni last week. She will be responsible for womenswear, menswear, accessories, store design and communications, replacing Francesco Risso, who left the Italian brand last month after almost 10 years. Rogge is the 17th new designer named to a big brand since mid-2024, but only the fourth woman. It's a striking imbalance in an industry that is still largely powered by womenswear and accessories, and one that was quick to pay lip service to diversity in recent years, but has seemed to retreat from many of its pledges in terms of gender and race. Rogge will become the sole female designer in the stable of OTB, the holding company that also owns Maison Margiela, Jil Sander, Diesel and Viktor & Rolf and that reported sales of €1.7bil (approximately RM8.4bil) in 2024, down 4% from 2023. Similarly, Louise Trotter, who will make her debut at Bottega Veneta in September, is the only female fashion designer at Kering, the luxury group that owns Gucci, Balenciaga and Saint Laurent, among other brands. Read more: All eyes on fashion provocateur Demna as he attempts to revive Gucci's fortunes The other two women who became creative directors of major fashion houses this year are Sarah Burton at Givenchy and Veronica Leoni at Calvin Klein. In a news release, Marni CEO Stefano Rosso called Rogge 'an exceptional creative talent and an inspiring woman'. A Belgian designer who started her career at Marc Jacobs before becoming head of women's design at Dries Van Noten and founding a namesake brand in 2020, Rogge, 40, shares a certain quirky practicality with Marni's founder, Consuelo Castiglioni. It was Castiglioni who transformed her husband's family fur company into a runway name beloved of bohemian intellectuals and art gallerists with a messy bent. In 2012, OTB bought a majority stake in the company, acquiring it fully in 2015. The next year, Castiglioni left, citing personal reasons, and Risso was named creative director. Though Risso's collections could be eye-poppingly imaginative, bristling with three-dimensional metal flowers or covered in what looked like finger paint, they could also seem self-indulgent – fun to look at, but hard to wear. Rogge, who is relatively unknown outside the fashion world, became the first woman to be named designer of the year at the Belgian Fashion Awards in 2024 and was the recipient of the Andam Prize earlier this year, one of fashion's most prestigious awards. Read more: Why is Jonathan Anderson's first Dior show at Paris Fashion Week so significant? In explaining the selection, Guillaume Houze, the president of Andam, cited Rogge's ability to turn 'ambiguity, hybridity and the unexpected into allies'. Like Castiglioni, she is also adept at marrying the conceptual to the commercial, and has an affinity for colour and the sort of print combinations that are alluring in their oddity. In the news release, Rogge called joining Marni 'both humbling and inspiring'. A spokesperson for Marni did not specify when Rogge would unveil her first collection. She did say, however, that the designer planned to maintain her own line and split her time between the two brands. Multitasking, as it were. – ©2025 The New York Times Company This article originally appeared in The New York Times.
Business of Fashion
30-06-2025
- Entertainment
- Business of Fashion
Belgium's Meryll Rogge Wins Andam Grand Prize 2025
Ghent-based designer Meryll Rogge has been named the 2025 grand prize winner of France's most prestigious fashion awards programme, the Andam Prize. Known for her offbeat takes on classic womenswear, Rogge, who cut her teeth at Marc Jacobs and Dries Van Noten, will receive €300,000 ($350,000) to develop her five-year-old label, alongside a year's worth of mentorship from Sidney Toledano, president of Institut Français de la Mode, senior advisor to the LVMH chairman and chief executive Bernard Arnault and former CEO of LVMH Fashion Group. French designer Alain Paul, who received the special prize, will also receive mentorship from Toledano, in addition to a €100,000 cash prize. Burc Akyol and Sarah Levy were recipients of the Pierre Bergé Prize and Accessories prize, respectively. Both will receive a cash prize of €100,000; Ami Paris' founder Alexandre Mattiussi will help Akyol structure and grow his label, while Longchamp creative director Sophie Delafontaine will work with Levy. The awards were presented at Institut Français de la Mode after Paris Men's Spring/Summer 2026 fashion week came to a close, and before Couture kicks off on July 7. Previous winners of the Andam prize include designer Martin Margiela (who won the first edition in 1989), A.P.C. founder Jean Touitou, and, more recently designers Marine Serre, Louis-Gabriel Nouchi and Australian designer Christopher Esber, who took home the grand prize in 2024. Learn more: Australia's Christopher Esber Wins Andam Grand Prize 2024 Esber, who is known for his sleek, summery eveningwear, will receive a grant of €300,000 to develop his brand as well as a year of mentoring from Saint Laurent creative director Anthony Vaccarello.
Fashion Network
26-06-2025
- Entertainment
- Fashion Network
Young creativity takes center stage in Paris with Jeanne Friot, Hed Mayner, 3.Paradis and Egonlab
On the second day of Paris Men's Fashion Week for Spring/Summer 2026, a new generation of designers brought fresh energy to the runway. Their collections spanned a wide spectrum—from extravagant to effortlessly wearable—yet all shared a distinct creative vision. This was especially true in the work of Jeanne Friot, Hed Mayner, and Egonlab. See catwalk Jeanne Friot reaffirmed her commitment to responsible, inclusive fashion with a defiant show titled simply 'Resistance'—a word that carries weight in today's climate. Both the audience and runway celebrated queer identity, with attendees donning the designer's signature accessories and standout pieces, while a 100% trans and non-binary cast took to the catwalk. 'These are activists and friends who brought along their friends,' explained the designer, a finalist for this year's Andam Prize. 'I wanted to offer this wounded community a moment of joy, especially with everything happening in the U.S. and around the world. I wanted them to feel unified.' Models—lashes glittering, nails painted—strode confidently in thigh-high equestrian boots crafted from upcycled belts, a hallmark of Friot's design language. Their presence was charged with emotion and purpose. When the final model emerged in a strapless corset gown constructed from glossy black belts—evoking protective armor—and raised a clenched fist, the applause swelled, and tears shimmered across the audience. Staying true to her commitment to sustainability, Friot once again turned to deadstock materials, reinterpreting her signature pieces in a palette of head-to-toe white, pale pink and baby blue—the hues of the transgender pride flag. Fluid suits and wide Bermuda shorts, fastened with buckle straps, conveyed lightness and movement. Cropped tartan puffer jackets met micro shorts, while silk tartan kilts were asymmetrically cut for added dimension. A micro-tailored suit in electric blue tweed punctuated the collection, alongside powerful black cotton pieces accented with metal eyelets. See catwalk Hed Mayner, meanwhile, embraced a more delicate mood this season, shifting away from his signature voluminous, fortress-like silhouettes. Instead, he introduced softer, body-conscious forms enriched with baroque-inspired details—floral tapestry blouses and coats, pajama-style printed sets, colorful headscarves, handkerchief skirts crafted from repurposed napkins and scarves, and organza pieces featuring delicate smocking. Mayner presented relaxed suits and Bermuda sets without their usual strong-shouldered structure, making them all the more desirable. He cut them from fine striped wool and airy fabrics with impeccable precision. Draped stoles over the shoulders added elegance to the fluid silhouettes, while sleeveless jackets amplified both comfort and ease of movement. The designer embraced minimalist total looks—like a lightly tailored navy jacket worn with ripped jeans, a gilet over a cardigan, or a navy pullover layered over a white shirt and paired with a trench and denim. Each outfit was finely tuned with rounded edges and soft draping. Free of rigid structure, these garments cascaded effortlessly down the body with a graceful, natural flow. See catwalk At Emeric Tchatchoua transformed the runway into a desert dreamscape. After last winter's snowfall-themed show, the Spring/Summer 2026 set was covered in fine sand and warmed by overhead spotlights. The designer imagined an allegorical journey across a sun-drenched landscape, where varied characters made appearances—from rapper French Montana in a relaxed deconstructed white tuxedo jacket to Jean-Charles de Castelbajac in an oversized beige leather trench. Of course, the Little Prince made an appearance—his figure woven in jacquard on sweaters, sketched along the hem of navy shirts, and featured in Antoine de Saint-Exupéry illustrations printed on T-shirts. One surreal runway moment featured a model in a dark wool coat adorned with vintage watches, a motif echoed on several trousers. Was he a street vendor or a symbol of time slipping—or stretching—under the desert sun? Models trudged slowly across the sandy terrain as if battling desert heat. The show opened with warm, earthy tones: relaxed double-breasted suits, layered oversized trousers designed to resemble four pairs stacked together, and asymmetrical cardigans. Pleats and folds echoed the curves of desert dunes, while silver-toned sand clung to a sheer tulle panel sewn into a one-sleeved shirt like a windswept veil. As the collection unfolded, the palette transitioned into bold, vibrant tones with a distinctly urban edge. Shimmering camouflage sets, black suits streaked with yellow-and-orange paint strokes, and sky-blue dove-print shorts paired with striped shirts—cleverly reimagined as beach bags slung across bare torsos—brought a playful intensity to the runway. The crescendo came in bursts of fluorescent orange shirts and vivid pink trousers and jackets. See catwalk Egonlab continued its move upmarket this season, easing away from its punk-urban roots—despite some striking cowboy boots—to focus more on tailoring. Designers Florentin Glémarec and Kévin Nompeix seemed energized by the infinite permutations of suiting. Blazer proportions shifted dramatically, with elongated jackets draped at the back and open under the arms for sleeveless wear. Pleated trousers featured ankle tabs that could be cinched with buttons. This season was all about detail. Jacket cuffs were dramatically oversized with contrasting fabric—white on black or beige suits—while trousers featured high turn-ups buttoned to reveal statement linings: plaid on rust-toned jeans, white canvas inside blue denim, or fine blue-striped cotton in camel trousers. Some shirts had short sleeves with actual cufflinks for an elevated twist. Military trench coats and shirts sported elongated shoulder tabs. The remainder of the collection embraced styling choices that prioritized concept over function—like oversized Pierrot collars shaped like gondolas (mercifully detachable). The designers also played with repetition: they layered fitted cardigans in pairs and styled socks in sets of three. The show closed with a striking final look—a rigid white lace shirt caught mid-ripple, resembling an ornate, weighty armor suspended in motion.
Fashion Network
26-06-2025
- Entertainment
- Fashion Network
Young creativity takes center stage in Paris with Jeanne Friot, Hed Mayner, 3.Paradis and Egonlab
On the second day of Paris Men's Fashion Week for Spring/Summer 2026, a new generation of designers brought fresh energy to the runway. Their collections spanned a wide spectrum—from extravagant to effortlessly wearable—yet all shared a distinct creative vision. This was especially true in the work of Jeanne Friot, Hed Mayner, and Egonlab. See catwalk Jeanne Friot reaffirmed her commitment to responsible, inclusive fashion with a defiant show titled simply 'Resistance'—a word that carries weight in today's climate. Both the audience and runway celebrated queer identity, with attendees donning the designer's signature accessories and standout pieces, while a 100% trans and non-binary cast took to the catwalk. 'These are activists and friends who brought along their friends,' explained the designer, a finalist for this year's Andam Prize. 'I wanted to offer this wounded community a moment of joy, especially with everything happening in the U.S. and around the world. I wanted them to feel unified.' Models—lashes glittering, nails painted—strode confidently in thigh-high equestrian boots crafted from upcycled belts, a hallmark of Friot's design language. Their presence was charged with emotion and purpose. When the final model emerged in a strapless corset gown constructed from glossy black belts—evoking protective armor—and raised a clenched fist, the applause swelled, and tears shimmered across the audience. Staying true to her commitment to sustainability, Friot once again turned to deadstock materials, reinterpreting her signature pieces in a palette of head-to-toe white, pale pink and baby blue—the hues of the transgender pride flag. Fluid suits and wide Bermuda shorts, fastened with buckle straps, conveyed lightness and movement. Cropped tartan puffer jackets met micro shorts, while silk tartan kilts were asymmetrically cut for added dimension. A micro-tailored suit in electric blue tweed punctuated the collection, alongside powerful black cotton pieces accented with metal eyelets. See catwalk Hed Mayner, meanwhile, embraced a more delicate mood this season, shifting away from his signature voluminous, fortress-like silhouettes. Instead, he introduced softer, body-conscious forms enriched with baroque-inspired details—floral tapestry blouses and coats, pajama-style printed sets, colorful headscarves, handkerchief skirts crafted from repurposed napkins and scarves, and organza pieces featuring delicate smocking. Mayner presented relaxed suits and Bermuda sets without their usual strong-shouldered structure, making them all the more desirable. He cut them from fine striped wool and airy fabrics with impeccable precision. Draped stoles over the shoulders added elegance to the fluid silhouettes, while sleeveless jackets amplified both comfort and ease of movement. The designer embraced minimalist total looks—like a lightly tailored navy jacket worn with ripped jeans, a gilet over a cardigan, or a navy pullover layered over a white shirt and paired with a trench and denim. Each outfit was finely tuned with rounded edges and soft draping. Free of rigid structure, these garments cascaded effortlessly down the body with a graceful, natural flow. See catwalk At Emeric Tchatchoua transformed the runway into a desert dreamscape. After last winter's snowfall-themed show, the Spring/Summer 2026 set was covered in fine sand and warmed by overhead spotlights. The designer imagined an allegorical journey across a sun-drenched landscape, where varied characters made appearances—from rapper French Montana in a relaxed deconstructed white tuxedo jacket to Jean-Charles de Castelbajac in an oversized beige leather trench. Of course, the Little Prince made an appearance—his figure woven in jacquard on sweaters, sketched along the hem of navy shirts, and featured in Antoine de Saint-Exupéry illustrations printed on T-shirts. One surreal runway moment featured a model in a dark wool coat adorned with vintage watches, a motif echoed on several trousers. Was he a street vendor or a symbol of time slipping—or stretching—under the desert sun? Models trudged slowly across the sandy terrain as if battling desert heat. The show opened with warm, earthy tones: relaxed double-breasted suits, layered oversized trousers designed to resemble four pairs stacked together, and asymmetrical cardigans. Pleats and folds echoed the curves of desert dunes, while silver-toned sand clung to a sheer tulle panel sewn into a one-sleeved shirt like a windswept veil. As the collection unfolded, the palette transitioned into bold, vibrant tones with a distinctly urban edge. Shimmering camouflage sets, black suits streaked with yellow-and-orange paint strokes, and sky-blue dove-print shorts paired with striped shirts—cleverly reimagined as beach bags slung across bare torsos—brought a playful intensity to the runway. The crescendo came in bursts of fluorescent orange shirts and vivid pink trousers and jackets. See catwalk Egonlab continued its move upmarket this season, easing away from its punk-urban roots—despite some striking cowboy boots—to focus more on tailoring. Designers Florentin Glémarec and Kévin Nompeix seemed energized by the infinite permutations of suiting. Blazer proportions shifted dramatically, with elongated jackets draped at the back and open under the arms for sleeveless wear. Pleated trousers featured ankle tabs that could be cinched with buttons. This season was all about detail. Jacket cuffs were dramatically oversized with contrasting fabric—white on black or beige suits—while trousers featured high turn-ups buttoned to reveal statement linings: plaid on rust-toned jeans, white canvas inside blue denim, or fine blue-striped cotton in camel trousers. Some shirts had short sleeves with actual cufflinks for an elevated twist. Military trench coats and shirts sported elongated shoulder tabs. The remainder of the collection embraced styling choices that prioritized concept over function—like oversized Pierrot collars shaped like gondolas (mercifully detachable). The designers also played with repetition: they layered fitted cardigans in pairs and styled socks in sets of three. The show closed with a striking final look—a rigid white lace shirt caught mid-ripple, resembling an ornate, weighty armor suspended in motion.
