Carpet weaving was an exercise spearheaded by the Ottoman Empire; replicas covered the floor at Missoni’s venue. These rug designs have aesthetic qualities of Medallion Ushak carpets: popular in Europe from the 15^th to 18^th centuries and associated with wealth, sophistication and power. Parallels can be drawn between this history and the Missoni vision, via an appreciation for craftsmanship and presence of considerable virtuosity.

The brand’s signature manipulation and execution of chroma reflects the complex presence of shades apparent in said carpets: a mottling of a range of colours was used; primarily using beige, sea blue, grape, crimson and variations of grey. At times, the tones were serene. Soft to the eye. In others, bold. A combination practiced predominantly in the decorative arts of Ottoman Turkey.

Angular and psychedelic patterns took clear influence from the design intricacies that define such carpets. These vegetal motifs and floral medallions were repeated as patterns on knitwear pieces, with some taking more abstract forms on tailored trousers, suit jackets and beautifully minimal, three-quarter-length coats. Some pattern arrangements were placed adjacently for a subtle but contrasting effect, while lightly toned plaids were injected sporadically to avoid repetition.

In some places, the distinctive borders of these carpets were reflected and reduced in size to highlight V-neck shirts. Simple, yet very effective.

Angela Missoni took inspiration from a context that superlatively fitted with the brand’s evocative use of colour and pattern. Like how the Ottomans wove its Ushaks, this collection was executed with upmost adroitness.