“Here’s to Life” by Shirley Horn was one of the key songs on the soundtrack at Meryll Rogge’s Marni debut in Milan on Thursday evening. The everyday was the aim for the Belgian designer, whose pragmatic first collection returned Marni to its house codes, established under founder Consuelo Castiglioni.
“It was important to bring the [brand] back to real life again,” Rogge said post-show. Her collection featured patterned knitwear, contrasting separates, embellished skirts, and sporty outerwear, a callback to Marni’s heritage prints and artsy, anti-glamour aesthetic. “People were wearing Marni from day to night. It wasn’t a brand for only special occasions. And so that’s what we tried to do.”
It’s a departure from the Marni we’ve come to know under her predecessor, Francesco Risso, who had a more experimental take on the brand’s codes, with artistic influences, bold prints and textures and larger-than-life proportions. In contrast, Rogge worked with casting director Piergiorgio del Moro, looking for distinctive faces, as told to Nicole Phelps in a preview pre-show. The show featured fresh faces, including Matilde Lucidi, Betsy Gaghan, and Libby Bennett. “The end process, the set, the casting, what looks you put on who, it s very important. And to me, it s as much part of the process as the design,” Rogge said.
Marni was founded in Milan in 1994 by the husband-and-wife duo Gianni and Consuelo Castiglioni. OTB purchased a majority stake in the label in 2012, appointing Risso in 2016. Risso’s Marni received critical acclaim, but Marni struggled commercially during the latter part of his tenure, particularly amid a luxury slowdown that saw the aspirational consumer — on which Marni relied — pull back luxury spending.
OTB saw a 5% decline in sales for fiscal 2025. The company didn’t break out Marni revenues, but Marni’s growth has been slower than that of other OTB labels, Diesel and Margiela, in recent years. The last time the group broke out brand growth figures, Marni grew 8% in 2023, compared with 23% growth at Margiela and 17% at Diesel. Rosso appointed his son Stefano Rosso, chairman of Margiela, as CEO of Marni in May last year to help steer the business.
Risso exited in June 2025, and Rosso selected Rogge, intentionally hiring a woman for the role, as he believes women’s ready-to-wear is a key growth area. Rogge’s known for her eponymous label, which she launched in 2020 and still maintains, as well as her work with Marc Jacobs and Dries Van Noten. The designer, who won the Andam Prize in 2025, has found critical acclaim for her upcycled, reconstructed garments, often inspired by specific time periods or locations, from Salvador Dali’s hometown to Americana fashion in the ’80s.
“I think the show was great,” Rosso said post-show. “It’s exactly what I think everybody was expecting from her — to take the codes of the house and reinterpret them in a modern way. It was very respectful of the codes, and had that modern elegance that always was a distinction of Marni.”
When asked backstage what of herself and her brand she’s brought to Marni, Rogge’s answer is simple. As a long-time fan and wearer of Marni, she already feels embedded in the brand. “I don’t think I can design without giving anything of myself. I think it’s impossible to be honest. And that s why I was so happy to have the opportunity to work here, because I feel like I have such a connection to the brand.”
Here’s what the industry has to say about her Marni debut.
Eva Chen, vice president of fashion and shopping partnerships, Meta
I ve known Meryl since she was one of the Andam finalists. That was two years ago, and then when she won Andam last season, I have to say, I’m so impressed by what she pulled together and created. She really tapped into the world of Consuelo Marni and put her own stamp on it.
She killed it [today]. I think she knocked it out of the park. It seemed very true to the spirit of Marni, while bringing it to the next generation. And there were so many pieces that you could take together, take apart, and put together, and it would still feel Marni. So I think this is a collection that has the Marni DNA, but will withstand the test of time.
Alex Kessler, deputy editor, i-D
It was a smart move to open with a nod to Consuelo Castiglioni. That first look felt like a respectful wink to the house’s DNA and set a confident tone for Meryll Rogge’s debut at Marni. You could see the outline of this art-collecting, slightly cerebral, beautifully offbeat woman, who has a job (!) starting to form. As the show unfolded, though, she seemed to multiply into a whole cast of characters, each with her own wardrobe, and the narrative got a little crowded. Where it really landed for me was that middle section, all paillettes, crunchy textures, and gloriously funky color clashes. That felt instinctive and alive. I love a woman who dresses like she means it.
The menswear might need more time to develop. Still, as a debut, there’s real promise. And it’s powerful to see a woman at the helm, stepping into that legacy and beginning to shape it in her own voice.
Nick Tran, buying director, Dover Street Market Paris
It was Consuelo remixed with what’s contemporary now. I loved the adornments; the sound as they walked was magical.
Jack Moss, fashion features director, Wallpaper
I think Meryll really captured the idea of eclecticism, which feels at the heart of Marni, not only in the clash of prints and embellishment — the stripes and the flowers, the giant paillettes — but also a parka or sweater worn with a cocktail dress, this mash-up of elements. It really felt like a return to the spirit of Consuelo and the origins of the brand. There was some great menswear, too, which felt unexpected: the wide-shoulder tailoring, the riffs on sportswear, the references to western-wear. It was a strong start.
Patrick Pendiuk, fashion features director, Vogue Germany
I was very excited to see the collection professionally, but also as a Marni customer for several years. Many looks reminded me of the Castiglioni Marni I fell in love with, some others screamed Meryll’s name, in the best way possible. Overall, a safe and good start for a new Marni era, plus some jackets I will definitely not be able to resist buying for myself.
Carlo Capasa, president, Camera della Moda Italiana
I think it’s a great collection, a very beautiful interpretation of Marni. I really felt that Marni had come home, but in a completely new way. It’s good to have [another] woman designer in Milano, I’m very happy because it brings a strong energy to the week.
With Meryll Rogge, Marni’s Third Chapter Starts Now
