Marnie's New Era: A Conversation with Meryll Rogge and Stefano Rosso

When you walk into Marnie's flagship store these days, the vibe feels different – not just a new line on the rack, but a whole shift in attitude. I sat down with Meryll Rogge, the brand’s newly appointed creative director, and Stefano Rosso, the longtime head of production, to get the low‑down on what they’re calling the "new era."

"We wanted to keep the soul of Marnie's, you know, that timeless elegance that made the house famous in the ’80s," Meryll began, her voice laced with a quiet excitement. "But we also felt it was time to listen to the world we live in now – sustainability, inclusivity, a bit of street‑wise attitude." She smiled, pausing as if to collect the perfect phrase. "It’s a balancing act, really – respecting our archives while daring to rewrite them."

Stefano, who has overseen the label’s production for over a decade, chimed in with a practical take. "The fabrics are the first place we made a change. We sourced organic silk from a mill in Como that still uses traditional looms, but now they run on renewable energy. It sounds like a small detail, but the feel of the material is still that buttery Marnie's touch. The difference? It’s kinder to the planet, and that matters to our customers now more than ever."

There were moments of laughter too – especially when they discussed the brand’s new colour palette. "I tried to convince Meryll to bring back that neon pink from 1991," Stefano joked, "but she said, ‘We’re not doing retro for the sake of retro.’ So we settled on a muted coral, which feels nostalgic without shouting. It’s a little compromise, but it works."

Beyond the materials, both creatives emphasized storytelling. "Every piece now comes with a little card that explains the heritage stitch or the sustainable process behind it," Meryll explained. "It’s our way of inviting the wearer into the journey, not just handing them a garment." Stefano added that the workshops in Milan now host open‑studio days, letting curious shoppers see the hands that actually sew the seams.

Of course, a rebrand isn’t without its hurdles. "We had to let go of some old suppliers who just couldn’t meet the new standards," Stefano admitted. "It was tough because relationships run deep, but the future demanded it." Meryll nodded, noting that the brand’s decision to pivot also opened doors to collaborations with emerging artists, injecting fresh energy into the runway shows.

The new collection, showcased last month at Fashion Week, mixed classic silhouette coats with unexpected details – a detachable fur collar here, a reclaimed leather strap there. "We wanted the clothes to feel adaptable," Meryll said, "so people could dress them up for a gala or tone them down for a coffee run. Flexibility is a kind of freedom."

When asked about what lies ahead, both shared a quiet confidence. "We’re not chasing trends; we’re building a community," Stefano said, his eyes reflecting a genuine belief. "If people feel good wearing Marnie's because it aligns with their values, then we’ve done something right." Meryll added, "The new era isn’t a chapter; it’s an ongoing conversation, and we’re listening."