DESIGNER SPOTLIGHT
MARINA MOSCONE

Meet the 31-year-old talent designing the cool clothes for real women.

DESIGNER SPOTLIGHT
MARINA MOSCONE

Meet the 31-year-old talent designing the cool clothes for real women.

“Incredibly chic.” There’s really no better way to describe the clothes made by Marina Moscone, the Parsons-educated, Peter Som-trained designer. Since 2016, she has quietly been creating pieces for a modern, sophisticated clientele, and in her world, the woman comes first. “I make clothes to fit into her everyday life” she says of the constructed blazers, streamlined tunics, shirting and elegant trousers she designs. Everything can easily be worn together or broken apart to cater to a day at the office, a dinner party or a black tie gala. No need to go home and change (just add a heel or jean as required)—because what modern woman has time for that?

This season, Moscone held a presentation at the late artist Willem de Kooning’s newly landmarked residence in Lower Manhattan. Everyone who knew enough to attend fell in love with the sensual collection, but it was a sapphire blue, luminous, raw-hemmed, “twisted” dress that garnered attention for its undeniable sex appeal. Rather than rely on plunging cuts or body-con silhouettes, Moscone favors a tactile approach, twisting and draping fabrics by hand in her New York atelier to create a softly seductive design.“I manipulate the natural behavior of the fabric” she says, “but I never try to make a fabric do something it can’t—that would be over-designing.”
Tatiana Hambro

“Incredibly chic.” There’s really no better way to describe the clothes made by Marina Moscone, the Parsons-educated, Peter Som-trained designer. Since 2016, she has quietly been creating pieces for a modern, sophisticated clientele, and in her world, the woman comes first. “I make clothes to fit into her everyday life” she says of the constructed blazers, streamlined tunics, shirting and elegant trousers she designs. Everything can easily be worn together or broken apart to cater to a day at the office, a dinner party or a black tie gala. No need to go home and change (just add a heel or jean as required)—because what modern woman has time for that?

This season, Moscone held a presentation at the late artist Willem de Kooning’s newly landmarked residence in Lower Manhattan. Everyone who knew enough to attend fell in love with the sensual collection, but it was a sapphire blue, luminous, raw-hemmed, “twisted” dress that garnered attention for its undeniable sex appeal. Rather than rely on plunging cuts or body-con silhouettes, Moscone favors a tactile approach, twisting and draping fabrics by hand in her New York atelier to create a softly seductive design.“I manipulate the natural behavior of the fabric” she says, “but I never try to make a fabric do something it can’t—that would be over-designing.”
Tatiana Hambro

I was looking for something “new” in luxury. There was not a whole lot that felt modern but still echoed heritage and longevity in terms of being a brand that didn’t compromise quality, workmanship and materials.

My friends, family, colleagues and peers are my muses. I don’t necessarily fantasize about someone I haven’t met, or someone that lives an elusive or unreachable life.

Peter Som, my ex-boss and now friend, is a wonderful supporter. What stuck with me is the way he designs without compromising his kind and collected demeanor; he’s authentic to his relationships and obligations.

We dress a very modern and progressive woman. The women who surround me are educated, informed and assured. Clothes need to fit into their lives: you can see this throughout the collections with the layering, the transparencies, the quality, the construction and the fabrics.

I was looking for something “new” in luxury. There was not a whole lot that felt modern but still echoed heritage and longevity in terms of being a brand that didn’t compromise quality, workmanship and materials.

My friends, family, colleagues and peers are my muses. I don’t necessarily fantasize about someone I haven’t met, or someone that lives an elusive or unreachable life.

Peter Som, my ex-boss and now friend, is a wonderful supporter. What stuck with me is the way he designs without compromising his kind and collected demeanor; he’s authentic to his relationships and obligations.

We dress a very modern and progressive woman. The women who surround me are educated, informed and assured. Clothes need to fit into their lives: you can see this throughout the collections with the layering, the transparencies, the quality, the construction and the fabrics.

I grew up in a multicultural environment. We’d spend time in Italy, where my father is from, and with my mother’s South African family. 

I have wanted to design from the age of three. I used to sit and watch Fashion File and Fashion Television as a child and make my father take me to the international magazine shop on Sundays. I followed all the designers in the news—everyone from Gianni Versace to Jil Sander. I would carry around this briefcase—it was bigger than I was!—and keep my sketches in it.

We make all of the fabrics in Italy, where I work with mills that have been family-run for many generations ensuring no quality is compromised. The clothing itself is made in New York City where my team and I can control the quality and hand. I never design something and pass it off, I am involved in every step.

I grew up in a multicultural environment. We’d spend time in Italy, where my father is from, and with my mother’s South African family. 

I have wanted to design from the age of three. I used to sit and watch Fashion File and Fashion Television as a child and make my father take me to the international magazine shop on Sundays. I followed all the designers in the news—everyone from Gianni Versace to Jil Sander. I would carry around this briefcase—it was bigger than I was!—and keep my sketches in it.

We make all of the fabrics in Italy, where I work with mills that have been family-run for many generations ensuring no quality is compromised. The clothing itself is made in New York City where my team and I can control the quality and hand. I never design something and pass it off, I am involved in every step.

I look to historical references in terms of technique and craftsmanship, and look to the art world for inspiration in terms of colors and textures. In my most recent collection, I referenced a lot of Piero Manzoni ‘Achrome’ textures and colors from the early 1960’s. 

Tailoring is my signature. Lately I’ve been looking at Basque references from the 1940s—the Christian Dior bar jacket, for instance—and I love to exaggerate the proportions while keeping very traditional Italian techniques. You can feel the interior construction in the fit and wear.

My philosophy is to slowly evolve your wardrobe
over time rather than choosing brands that overhaul their point of view from season to season.

I look to historical references in terms of technique and craftsmanship, and look to the art world for inspiration in terms of colors and textures. In my most recent collection, I referenced a lot of Piero Manzoni ‘Achrome’ textures and colors from the early 1960’s. 

Tailoring is my signature. Lately I’ve been looking at Basque references from the 1940s—the Christian Dior bar jacket, for instance—and I love to exaggerate the proportions while keeping very traditional Italian techniques. You can feel the interior construction in the fit and wear.

My philosophy is to slowly evolve your wardrobe
over time rather than choosing brands that overhaul their point of view from season to season.

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