Latest news with #MaisonMargiela
South China Morning Post
14 hours ago
- Entertainment
- South China Morning Post
Meet Snejyo, the Insta-famous sisters bringing back maximalism: Hermès and Chanel obsessed Indian siblings Snehal and Jyoti Babani first went viral last year for their OTT matching looks
Until recently, the consensus around fashion on social media seemed to be that less is more. Understated elegance at a hefty price tag has been the ethos of quiet luxury – a trend that gained traction in 2023 and was embraced by the likes of Gwyneth Paltrow and perfected by brands like The Row. But now it's 2025, and the reliably cyclical nature of fashion means that maximalism is once again on the rise – layering and loud patterns are back in style. On the runway, creative directors Alessandro Michele and Glenn Martens' much-anticipated debut haute couture collections for Valentino and Maison Margiela featured voluminous silhouettes and playful textures; and for the perennially online community, no one embodies this new trend like the Instagram- and TikTok-famous Babani sisters. Advertisement For a while, Snehal and Jyoti Babani managed to avoid mainstream media attention, despite being regular fixtures at the major runway shows. That was until the pair – collectively known as Snejyo – went viral for wearing head-to-toe Hermès in 2024. Despite their love of logomaxing (at the Hermès spring/summer 2025 show last September they literally accessorised their main Hermès Kelly bags with mini and micro Kellys), the sisters have kept a low profile. Even their shared Instagram account, which boasts over 61 thousand followers, is private. Snejyo holding Hermès Kelly bags that are in turn accessorised with mini and micro Kelly bags. Photo: @snejyo/Instagram They can also take months to share their looks online. In June, the sisters finally shared several photos of themselves dressed to the nines in coordinating Chanel outfits for the haute couture spring/summer show in Paris that took place back in January. Snehal and Jyoti Babani at Chanel's fall/winter haute couture show in Paris earlier this month. Photo: despi_naka/Instagram Most recently, the sisters were spotted dressed to the nines in coordinating Chanel outfits for the fall/winter haute couture show in Paris earlier this month. With the rise of maximalism and fashion bringing fun back, who better to look to for fashion inspo than the best in the game? Here's everything you need to know about Snehal and Jyoti Babani. They are Indian
Observer
a day ago
- 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
Hypebeast
15-07-2025
- Entertainment
- Hypebeast
MM6 Maison Margiela and Dr. Martens Meet Again for New Capsule
Name:MM6 Maison Margiela x Dr. Martens 1460 / 1461 ; MM6 Maison Margiela x Dr. Martens 1461 / PentonColorway:Stark WhiteMSRP:$320 USD ; $290 USDRelease Date:July 17Where to Buy:MM6 Maison Margiela; Dr. Martens WhenMM6 Maison MargielaandDr. Martensget together, the result is never something you want to miss. Once again, the partners are tapping back in to their seemingly effortless creative synergy, to present a pair of dual-minded hybridized footwear offerings that rethink Dr. Marten's legacy through the distinct MM6 lens. Dipped in a sleek, stark white colorway comes the MM6 Maison Margiela x Dr. Martens 1460 / 1461 and the MM6 Maison Margiela x Dr. Martens 1461 / Penton – both of which land as hybrid models and come crafted from a mix of Smooth and Virginia leather. First off, the 1460 / 1461 is a combination of Dr. Martens' Original 1460 8-eye boot and 1461 3-eye shoe, amalgamating the two silhouettes with a bump toe, embossed MM6 Maison Margiela numeric artwork on the ankle shaft, and custom white AirWair heel loop. The second pair – a snoafer, of sorts – is a combo of the 1461 and the Penton loafer, taking a sophisticated slip-on structure and visually emulating the look of 'a shoe within a shoe.' Expect the two new MM6 Maison Margiela x Dr. Martens models to land for purchase at both brands' webstores on Thursday, July 17.
Observer
15-07-2025
- Entertainment
- Observer
This Is What Fashion Needs Now
The last time Maison Margiela held an 'artisanal' show, the brand's version of couture, it shook the fashion world. That was back in January 2024. John Galliano was creative director, and his theatrical vision of smoke-filled cafes and nighttime assignations had attendees swooning in delight and shrieking genius. So it was pretty audacious, all things considered, for Glenn Martens, the new designer of the brand, to decide that his first coed show — and the first Margiela show of any kind since Galliano's — should also be couture. Good thing it offered some genius of its own. An exhilarating, multidimensional, occasionally misguided explosion of ideas, it was the most propulsive show of the week; a scream of originality amid collections and designer debuts that have largely offered well-calibrated wearability. It was extreme in its imagination and technique (sometimes too much so), but never namby-pamby. It's what fashion needs. Even if it did not begin well. Held in the same underground warren of concrete rooms where Martin Margiela, the founder, had staged his last show in 2008, it began, in fact, with two women in transparent plastic dresses. Their hands were trapped at the waist beneath their pencil skirts, their faces encased in plastic masks. Masks were a Margiela signature — he thought they served to focus attention on the clothes — but here the models looked as though they were suffocating. It was painful to see, and seemed even more painful to wear, whether or not it was conscious commentary on the state of women in the world. Just as the outrage was beginning to bubble up, however, out came a figure in a sweeping, mud-color cloak, with the inside of the hood and its matching mask covered in dark crystals. That was followed by a series of three gowns in bronze, gold and silver made from aged duchesse satin that swirled around the bodies like storm clouds, and it was clear we were in a whole different universe. From there, things just got wilder. Patchwork skirts and jackets that suggested elaborate ruined wallpaper, or pages from a diary, were peeling back at the seams. Flowers sprouted up out of prints like still lifes run amok. One dress made from more than 10,000 pieces of gold costume jewels looked as though a giant magnet had walked into a pawn shop. A skirt seemed composed of an entire flock of pigeons that had collided midflight. T-shirts were speckled with crystal shards, as if they had clawed their way out of the center of the earth. Imagine the weather gods had come down to Earth during medieval times, started collecting both heraldic tapestries and Flemish flower paintings, and then marauded their way across the centuries to join Hell's Angels for the fall of the Berlin Wall. This is how they might look. History was layered on top of texture on top of reference; preciousness rooted in the memories each piece seemed to contain. Rather than, say, the number of bugle beads. It was couture, but not as it has existed anywhere else. Except maybe in the archives of Margiela, where value always rested in the potential of found objects. And it was spectacular. Mostly. A series of gowns in flesh-tone jersey so thin as to expose the corset and bones beneath simply transformed the wearers into skeletal wraiths, while wire belts with corseted backs seemed more like garrotes for the waist. And it was impossible to look at the masks that accompanied every look — in hammered metal or gleaming crystal, no matter — and not think of the way masks are being used around the world. As with the state of women, facial coverings have taken on a complicated political meaning in the present day, and no matter how fantastical fashion may be, it is not exempt from the shadow of current events. Ultimately, choosing to obscure the models' faces detracted from the humanity that otherwise permeated the clothes. You may like the masks or hate them, but like the feral, unbridled nature of the collection itself, it was impossible not to react to them. Which, given how dulled everyone's senses have become by the never-ending stream of imagery in which we all exist, is Martens' magic. At the end of the show, guests were ushered upstairs for a celebration, where waiters holding drink trays lined the way to a room full of multicolored balloons piled neck-deep. Jaded fashion editors waded in, laughing in their stilettos. That was magic, too. —NYT
Fashion United
15-07-2025
- Business
- Fashion United
From Margiela to Marni: OTB's creative shake-up may just be the beginning
In a season of notable reshuffles across fashion's creative directors, the news of Meryll Rogge taking the helm at Marni might appear subdued compared to the drama at more headline-grabbing houses. But make no mistake, her appointment is a quietly significant moment not just for the Milanese label, but for its parent company, OTB, which has been carefully retooling its creative assets. The Italian fashion group, long considered a quieter sibling to Kering and LVMH, is now executing what can only be described as a calculated creative overhaul, starting with Maison Margiela, and now Marni, with Jil Sander waiting in the wings. The biggest headline of this week has been the appointment of Meryll Rogge as creative director of Marni. Her arrival follows the June departure of Francesco Risso, whose intellectually maximalist vision may have earned cult status but never quite translated into market momentum. Rogge, a Belgian designer trained at Dries Van Noten and Marc Jacobs, represents a sharp pivot: minimal where Risso was expressive, architectural where he was romantic. OTB appears to be recalibrating its brands for cultural longevity over fleeting buzz. Rogge's Marni promises a return to the label's modernist roots, playful but poised, less runway theatre and more wardrobe intelligence. It's a move that could reawaken a customer who drifted away during the previous tenure, especially if backed by a refined retail and merchandising strategy. This appointment comes just days after Glenn Martens's couture debut at Maison Margiela, a show so technically sophisticated and creatively explosive it has already been declared the triumph of the couture season. That Martens was given the freedom to push boundaries speaks volumes about OTB's willingness to take meaningful risks. But just as crucial is the follow-through: Martens' success gives the group breathing room to execute subtler changes elsewhere. Next up is Jil Sander, where Simone Bellotti, formerly at Bally and Gucci, will unveil his first full collection later this season. His quiet appointment this spring barely made headline compared to the Anderson and Grazia Chiuri shift at Dior, precisely the kind of soft launch that suits Jil Sander's DNA. The label has long catered to the purists of design, and Bellotti will need to balance its ascetic heritage with renewed relevance. Taken together, these appointments aren't just creative reshuffles, they're strategic recalibrations of brand identity across OTB's portfolio. This is not a conglomerate chasing TikTok moments. It's playing a longer game: building houses with distinct, durable codes in an era when many brands blur into sameness. Financially, OTB remains a mid-size player compared to the giants of luxury, but the group is betting on a future where creative substance wins over hype. If executed with discipline, the Rogge-Martens-Bellotti trifecta could represent a turning point—not only in aesthetic terms but in growth potential. Because, as any seasoned observer will tell you, brand equity isn't just built on marketing campaigns and headlines, it's built on consistency, clarity, and creative conviction.
