Her Finale In Paris Embodied Discovery And Invention, Underscoring A Designer Ready To Take On Her New Role At Marni Without Losing Her Own Voice
By Kenneth Richard
Backstage in Paris, Meryll Rogge radiated warmth — the kind that comes with discovery and invention. She wore her own pieces in a mash-up of silver chain choker, plaid shirt, white tee, jeans, and an oversized belt. More Laurel Canyon than Paris salon, she was an epicenter of energy in the chaos of post-show congratulations, equal parts enthusiastic and precise, knowing her audience yet refusing to play by its hierarchies.
She began by thanking us “First of all, thank you all for being here because I know it was a rough month for you guys,” she said. “And it was an honor for us to be presenting as the last show of Fashion Week — and Fashion Month. We wanted to send you off on a good note.”
That sentiment set the tone for the show: a send-off as much as a statement. With Björk on the soundtrack, Rogge leaned into freedom of expression, breaking down barriers between daywear and evening, play and precision.
There’s a lot going on in my life right now — different brands, different projects. It actually made things clearer, because I can express creativity in so many ways. For Meryll Rogge, I felt free to do whatever I wanted.
Her inspirations this season came from unexpected places, including a half-finished book: the autobiography of Kiki Müller. “It’s wonderfully written, very funny, very poetic,” Rogge said. “She was a stripper, a critic, a designer, an actress. There was no hierarchy. That openness, that freedom of expression — that’s what I wanted to achieve.”
The garments reflected that ethos. Rogge experimented with fabrics that defied expectation. “We worked on really lightweight tailoring,” she explained. “Blazers and coats in English wool that are light as a feather. That was something I was very focused on.” Dresses, meanwhile, layered delicacy with grit: “A viscose satin slip with cotton lace, hand embroidery — all those layers, it’s a life story.”
Prints, too, emerged from life rather than abstraction. “These are actually iPhone photos from our print designer, Hermando,” she said, smiling. “He took them on Lake Geneva, on a boat. We liked that it followed one of our team member’s stories.” The jewelry carried that intimacy further: pendants made with images of team members’ loved ones, oversized pearls in custom settings, and punk-inflected hardware crafted with Antwerp jeweler Wouters & Hendrix.
Even accessories became acts of play. Her ongoing belt experiment grew bolder this season. “We started with double-tipped belts three years ago,” she said. “Then a woven leather, then a studded version. Now we’ve gone to a quadruple-tip belt. It was kind of funny — but also allowed us to play with hardware in new ways.”
Shoes, a first for her brand, appeared as riffs on boat shoes — reimagined as boots, mules, and slides.
It was like a candy shop! We’ve never had so many accessories before. Being able to style every look was such fun.
There was rebellion too. “This season had a bit more of a punkish, rebellious attitude,” Rogge noted. “A bit more daring, a bit more spirited.” That sense of boldness aligned with her own balancing act as she prepares to step into Marni. “They are very different universes,” she said. “But that’s what makes it so exciting — to explore all my creative outlets. It’s thrilling. Liberating.”
Rogge arrives at Marni with a compelling pedigree. Born in Ghent, Belgium, she studied at the Royal Academy of Fine Arts before moving to New York to work with Marc Jacobs, and later returned to Antwerp to lead womenswear at Dries Van Noten. In 2020 she launched her own label, quickly earning acclaim for its playful silhouettes, inventive knits, and clashing textures. Her recognition grew steadily, culminating in the 2025 ANDAM Grand Prize, which confirmed her as one of fashion’s rising forces. Now, her appointment as Creative Director at Marni signals not just a new role but a generational shift.
For now, though, Paris was her stage — and she closed Fashion Month with freedom, energy, and play. “The most fun moment for me,” she said, “is piecing everything together in the styling — where the jewelry, the accessories, the shoes, all come alive. That’s when it really becomes a story.”
And for Rogge, that story is only just beginning.