Moncler’s track record puts it in a league of its own.
The effect of
dripped silver
paint ensures
that no two
figurines
are alike
One of my earliest experiences with Moncler had nothing to do with its famous down jacket. It was 2012, in the middle of a sweltering European summer, and I was in a vast Milanese warehouse waiting for the Moncler Gamme Bleu runway show to start. Moncler’s puffer jackets are noted for their functionality (everyone around me swore by theirs for winter), but I was especially excited to see how Thom Browne would reimagine weather-appropriate wear at the brand’s more fashion-forward line. From the moment a troop of tap dancers dressed in sailor outfits took their places in the middle of the catwalk, I knew I was in for a good time. Over the course of 44 looks, the American designer brought the fashion set on a whimsical voyage across the oceans with a focused reimagining of quilted coats, lightweight gilets and utilitarian raincoats. Coupled with the House’s pursuit of innovation, the nautical-themed collection left a deep impression. the Moncler Gamme Bleu runway show to start. Moncler’s puffer jackets are noted for their functionality (everyone around me swore by theirs for winter), but I was especially excited to see how Thom Browne would reimagine weather-appropriate wear at the brand’s more fashion-forward line. From the moment a troop of tap dancers dressed in sailor outfits took their places in the middle of the catwalk, I knew I was in for a good time. Over the course of 44 looks, the American designer brought the fashion set on a whimsical voyage across the oceans with a focused reimagining of quilted coats, lightweight gilets and utilitarian raincoats. Coupled with the House’s pursuit of innovation, the nautical-themed collection left a deep impression.
I should’ve known better than to expect anything less from a brand that is renowned for challenging the way classic winter wear is designed, marketed and sold. Since its founding in 1952, Moncler (its the way classic winter wear is designed, marketed and sold. Since its founding in 1952, Moncler (its moniker is the abbreviation of Monestier-de-Clermont, a town near the French Alps) has grown from maker of practical ski gear into a luxury fashion powerhouse. And at the centre of it all is CEO Remo Runi, who acquired the brand in 2003 and is often credited for ushering the brand into a new era of creative growth. His steady transformation of the brand is supplemented by the efforts of Browne (though the brand recently announced the closure of the Gamme Bleu and Giambattista Valli-helmed Gamme Rogue lines) and marked by an enviable chain of collaborations. From working with Chinese artist Liu Bolin on its campaigns, to tapping on the talent of Craig Green for a special C collection, each project solidifies Moncler’s spot on the summit. This approach has paid off: Besides making it a popular choice among young consumers who appreciate an extra edge in their buys, Moncler’s revenue reportedly shot through the €1 billion mark in 2016. moniker is the abbreviation of Monestier-de-Clermont, a town near the French Alps) has grown from maker of practical ski gear into a luxury fashion powerhouse. And at the centre of it all is CEO Remo Runi, who acquired the brand in 2003 and is often credited for ushering the brand into a new era of creative growth. His steady transformation of the brand is supplemented by the efforts of Browne (though the brand recently announced the closure of the Gamme Bleu and Giambattista Valli-helmed Gamme Rogue lines) and marked by an enviable chain of collaborations. From working with Chinese artist Liu Bolin on its campaigns, to tapping on the talent of Craig Green for a special C collection, each project solidifies Moncler’s spot on the summit. This approach has paid off: Besides making it a popular choice among young consumers who appreciate an extra
Destination Hong Kong, Moncler’s latest endeavour to celebrate the opening of its new agship in Tsim Sha Tsui, carries on the brand’s fine tradition of taking the path less travelled. It invited street artist Craig Costello, famed for his paint-drip works, to customise 350 of its 19cm-tall Mr Moncler figurines to give away. It gets better: The multi-pronged event also saw Moncler stage outdoor installations comprising an additional 10,000 of the figurines standing in rank and file across four locations in the city. As the last rays of the sun disappeared behind Hong Kong’s famous neonlit cityscape, so did the figurines, each one carted home by fans and curious passers-by alike. It was a “democratic process” that not only pulled the gap between art performance and spectator closer, but a fitting gesture that seared Moncler into the consciousness of the public.
INK MASTER
Besides working on big-scale murals, Craig Costello (right) peddles his line of handmade inks and markers as the founder of KRINK. Here, he talks about collaborating with Moncler
Did you try to distil Moncler’s qualities into the project?
It was a coming together of two parties—me applying my aesthetics on the Mr Moncler figurines. With each collaboration I do, things are always dierent. In the case of Moncler, it was a painted eort. How the products are used is very dierent, and all these come into consideration with each collaboration.
What makes fashion and art collaborations so exciting?
Fashion and art fall under the general realm of creativity. It’s nice for these forms to come together. It’s a really good fit. We understand each other and are interested in the conversation. Through collaborations, you sometimes have a shake-up.
Do you create by instinct or logic?
I think it is more experimentation. I think all creatives, be it artists or designers, learn from their history and experience. They also learn from practice, through trial-and-error, and observe where things are going. Is it new? Do you see what’s happening in the market? Are you accepting that? Do you go in a completely dierent direction? It’s a continuous process.
By Gerald Tan
