Launched in 1994, Marni is a luxury brand favored by a discerning coterie of international women who are curious and sophisticated: fashion-oriented, but with a strong identity and a personal vision. The Marni woman is hard to pinpoint. Elusive and arty, she likes to play with forms, prints, textures and colors.

Marni is in fact, essentially, a mindset: slightly out of the schemes and subtly subversive. It’s an unpredictable visual language: graphic, rigorous. Consuelo Castiglioni is the author.

The Swiss-born designer conveys her personal sense of elegance and experimental approach to materials and colors, her unique flair for mixing prints and shapes in collections that are at once irreverent and emotional, with an eclectic yet coherent design. Age and status are irrelevant to her: she encourages women to express themselves through clothes, mixing pieces from different seasons in endlessly new, utterly individual permutations.

Far from being a diktat, Marni is a range of possibilities. It knows no boundaries or impositions: this is how Consuelo conceives style. Her signature is coherent, her approach avant-garde. In an ongoing dialogue with the art world, Consuelo involves artists, both established and up-and-coming, in special projects for both retail and product.

A family business in the best Italian tradition, Marni is a standout example of the qualities that make the Made in Italy label relevant. Everything, from prototypes to final pieces, is made in-house in the Milano headquarters, ensuring the highest level of quality, something Consuelo does not want to compromise. In 2012 Marni joined OTB Group.

The core business focuses on Women’s Ready to Wear, Bags and Shoes. The lifestyle product lines include Bijoux, Eyewear, Menswear and Accessories, Children’s Wear and Fragrances.

Since 2000, Marni has developed a strong flagship retail presence both offline and online. The flagship stores and shops-in-shop are as innovative, unique and non-standard as the clothes on display. Marni has also gained worldwide brand recognition through key specialty shops and the most important department stores. Furthermore, the brand pioneered web retail, focusing on the online store, which depicts the Marni world through e-commerce as well as two distinct editorial channels: Anticamera magazine and the Waffling blog.

Marni’s success is built on a signature that is both elusive and unmistakable. It is a celebration of individuality, instinct and personality, with a sense of feminine pragmatism, design and borderless artistic invention.



Using abstraction to question the status quo, the new Marni collection creates a distinctive visual language, made of forms, materials, colors, yet completely devoid of any identifiable reference. It builds its own code and grammar, freed from constraints and pre-set norms.

Clothes move, float, swing around the body with sculptural ease, their presence marked by the intense clarity of solid hues juxtaposed in offbeat ways. The apparent precariousness of the lines, with diagonals and flaps that draw dynamic tensions around the silhouette, is underpinned by the scuba body pieces worn underneath. Counterintuitively, the leather slip-dress is put over the coat. Perforated tunics add another layer of stimulation to the abstract complexity of the compositions. Allover sequins and macramé dots explore the visual power of repeated circular forms. Draped and folded with studied spontaneity, shapes have an impromptu quality: a simple stitch creates the shape of a tunic, using excess fabric to define the movement; satin is gathered on one side to mold the shape of a top. Trousers coil in fluid line; sleeves are elongated. The simple white t-shirt is maximized into a dress and worn under the densely embroidered leaf cut-out tunic.

The color palette exudes a vibrant energy: primary notes of blue, red, yellow mingle with deep tones of brown, blue, raw sienna, burgundy and black. White is used as a melting agent, or in the background. Fabrics have a tactile firmness: bonded satin, technical gabardine, dry wool, glass velvet. Prints further provide rhythm and visual punctuation: silhouette motifs and shadow patterns have an organic/abstract feel.

Accessories carry the mobile sculpture idea into the realm of the useful. Square-toed shoes are mounted on architectural heels; open-toe boots draw graphic lines. The new line of sunglasses have bold angular shapes. A modernist spirit characterizes the bags: soft satchels are secured to the wrist with chain bracelets; the soft belt bags have sport oversized straps; soft metallic clutches come in neat shapes. Bijoux mix metal and resin: long earrings shaped like leaves or geometric figures, sculptural pendants, angular bracelets stacked on the arms.