Quinn tells CR he wanted to riff on the era's space-age fashion and referenced Stanley Kubrick's seminal 2001: A Space Odyssey. But his main inspiration? Twiggy. "I love Twiggy," he says. "I watched a lot of old videos from shoots she was on; I loved those super short but really chic dresses she used to wear. Being British, she's definitely [one of my favorite] style icons from the '60s."
Materials include nylon laqué, which Quinn calls "a kind of like shine-through nylon," faux fur, ostrich feathers, duchesse, and nylon twill. "I come from a textile background," Quinn says, "so I've always loved working with different materials. What's amazing about Moncler is that you can achieve such big volumes but the gowns and the jackets themselves are fairly light. It’s like taking their traditional house fabrics and then turning them into different things. Breathing new life to them."
The collection is a departure from Quinn's first collection with Moncler for the Fall/Winter 2019 season, which was featured in CR Fashion Book Issue 15 and was shown on Carine's first-ever catwalk last year. The ski helmets, tight body suits, and windbreakers that might've appealed to a younger demographic have been replaced with elaborate statement pieces, right down to the feathered baklavas and embellished pumps. Quinn's favorite from this season: the quilted pieces. "We’ve done [a piece] with big green, white, and yellow daisy prints; it almost looks 3-D."
The capsule is part of the Moncler Genius project, now in its third edition. In addition to Quinn, the brand has tapped everyone from Simone Rocha and Craig Green to JW Anderson and Valentino's Pierpaolo Piccioli. "It’s a nice fresh and new way of working," Quinn says. "No idea is too big—[Moncler] wants to push the idea as big as it can go. And what's best is they’re not afraid to do the really wild pieces."