Luxury fashion should be an all-encompassing creative experience
In fashion, connection often stops at the showroom doors, with designers speaking to critics rather than customers. For Risso, that’s never been enough. “I spend a lot of time in the stores. I meet a lot of clients. I spend time with the people themselves.” To him, the heart of Marni isn’t just in the atelier; it’s in the spaces where people experience the clothes first-hand. Risso understands that a brand is only as strong as the bond it creates with its community. Post-pandemic, he sought to close the gap between the atelier and the last person in the chain, recognising the importance of direct engagement.
Stubbornness isn’t helpful, but confidence is
Risso recounts the beginning of his days at Marni – how a few journalists, after learning much of the collection was hand-painted, remarked, “You’re not going to sell one.” In response, the designer maintained his defiant, quiet confidence and the pieces did end up selling. The hand-painted details became one of Risso’s most definitive symbols of his tenure at Marni. The need to trust creative instincts is necessary in the face of criticism. Risso, instead of giving up, focused his energy on finding practical solutions for the problems his critics raised. Now, his production chain includes teams of painters spread throughout the world who emulate his brushstrokes, making his hand-painted vision accessible to every client. Just remember to do as Blanks learned through the destruction of his hand-painted shirt – hand-wash them in cold water.
In the fashion industry, trust between the creative and financial sides is essential
Speaking of his relationship with Renzo Rosso, chairman of Only The Brave, the luxury group behind Marni, Risso reflected on its openness. “Renzo is an amazing man who gave me so much trust. We are open enough to criticise each other.” Even though he jokes about how much he pushes the boundaries, he says he works with people who understand his vision. “We’re not about beige sweaters.” Risso attributes his success to the people around him – those who understand what he’s doing instead of blindly following numbers and financial trends.
A good mentor is worth their weight in gold
Miuccia Prada is not just a proverbial mother; she’s a maternal force in the industry. Risso, too, has felt her influence. His eight-year stint at Prada was a creative starting point for him. More than technical skill, he describes his time with Mrs. Prada as transformative. “I was 24 when I started at Prada. One day, I was called into the private club that gets to interact with her. Suddenly, you have to talk about the most incredible topics. She would push creativity to the maximum, and then it was about stripping it down until you found a beautiful balance. I received so much from it.” From his time at Prada, Risso learned about the communal process of creating fashion. And despite the arduous process of detaching himself from Prada’s odd nest – “For years, I banned pleated skirts” – he created a similarly united family at Marni.
The current state of the industry doesn’t benefit anyone
Like the rest of us, Risso is perplexed by the state of fashion. Equally confused and scared, he speaks of the brutality of the current scene. “It feels like we’re in the Dark Ages.” The usual buzz surrounding a debut has turned into a venomous ring, propelled by social media users and fashion media. He describes a scenario where collections are criticised before they’re even released. “How many AI collections do we have to see of Demna at Gucci? It’s brutal.” More so, the designers who make their debuts face a radical landscape where first collections are interpreted as final statements instead of opening remarks, judged against one another. “Is this supposed to resolve the economic issues and the world wars? It just feels so stupid.”
Stability is creatively catalysing
The current chaos of the industry isn’t just a matter of professional frenzy; it’s an artistic graveyard. Unable to create meaningful legacies, creative directors are disposed of before they can mature their vision. A throughline in Risso’s speech was the time it takes for “the flowers to bloom.” Both in building a creative community and a loyal customer (or “lover”) base, Risso took time to define his language at Marni. Like him, most designers need time to develop, adapt, and flourish. Finding the right people to work with takes time, as does understanding how to blend personal vision with a brand’s legacy.
Community isn’t the destination, it’s the journey
From someone who began a talk with a collective poem, it’s unsurprising that Risso values community. For him, the creative process is an interactive and binding journey that people go through together. This belief was catalysed during the pandemic when the necessity of isolation reshaped how he thought about connection. As a reaction to the circumstances, he sent out clothes for people to style and document themselves in as part of the presentation for the Spring/Summer 2021 collection. Unlike the rigidity of a traditional show, individuality reshaped the shared creative process.
Creative elation comes from discipline
True creative euphoria isn’t found in a viral TikTok or a high-profile celebrity placement. In an era where success is often measured in likes, shares, and momentary hype, true artistic fulfilment comes from persistence. For Risso, it took ten years filled with countless working days and relentless refinement. The rush of an idea coming to life, the satisfaction of seeing a vision materialise, and the connection forged with a community that understands his work – these are the rewards that can’t be rushed or manufactured. Risso sums it up perfectly: “You enact joy through hard work.” It’s a process, not a moment.
