Belgian precision meets Italian eccentricity as Meryll Rogge takes over Marni. With a reputation for intellectual playfulness and a deep respect for craft, she steps into a role that asks for both artistry and renewal.
If Martin Margiela reshaped fashion through radical deconstruction and Dries Van Noten seduced with painterly colour, then Meryll Rogge, Marni’s newly appointed creative director, emerges as the next Belgian to carry that intellectual torch into the international spotlight. She inherits a storied house at a moment of transition: a brand celebrated for its eccentric, art-infused identity, yet seeking to rediscover its momentum.
Her arrival marks only the second time in Marni’s 31-year history that a woman leads its design studio, following in the footsteps of founder Consuelo Castiglioni. For Stefano Rosso, Marni’s CEO since 2024, it is both a return to roots and a chance to reset the house’s global ambition.
Born and raised in Belgium, Rogge trained at the Royal Academy of Fine Arts in Antwerp - a school that has produced many of fashion’s most uncompromising talents, from Raf Simons to Ann Demeulemeester and Margiela himself. That grounding gave her not only a discipline in construction but also a sensitivity to the intellectual side of fashion - one that asks why a garment exists, not just how it looks.
Her path, however, was far from linear. She began her career as an illustrator at Disney, working on fantastical sketches that later informed her whimsical touch with silhouette. In 2008, she joined Marc Jacobs in New York, a city that opened her imagination to energy, spontaneity, and commercial savvy. Seven years with Jacobs sharpened her design instincts, teaching her both irreverence and the intricacies of building a collection with a global audience in mind.
From there, she returned to Belgium to join Dries Van Noten as head of womenswear. At Van Noten, she mastered colour layering, fabric clashes, and the elusive quality of wearable eccentricity - signatures that resonate deeply with Marni’s DNA. She learned to combine rigor with romance: a tweed vest could be cut oversized, a slip dress layered with wit, a tailored suit softened with colour that seemed borrowed from a painter’s palette.
When Rogge launched her eponymous label in 2020, she distilled those lessons into a voice that felt distinct. The collections were intellectual yet playful, balancing slouched tailoring with delicate embroideries and inventive details. Critics described them as “emotional analysis” in fabric - drawing from history, modern culture, and a keen sense of femininity.
Her clothes were worn by Cate Blanchett, Rihanna, Dua Lipa, Kendall Jenner, Hailey Bieber, and Chloë Sevigny, among others. Recognition followed: finalist placements at the LVMH Prize (2022) and the Woolmark Prize (2025), as well as the ANDAM Award. For an emerging designer, these were more than milestones; they were acknowledgments of her ability to balance creativity with relevance.
Rogge’s Spring/Summer 2025 collection marked a new chapter for her label, presenting her clearest expression of identity to date. Inspired by her wedding in Cadaqués, Spain, she transformed private memories into design signatures: generous coats paired with delicate satin dresses, reconstructed patchwork denim, and floral motifs of siempre viva - a nod to eternal love - worked into prints, cut-outs, and beadwork.
The result was deeply instinctive and emotionally charged, proof that Rogge can merge intimacy with precision. Sustainability grounded the collection, with upcycling and deadstock fabrics woven into its construction - underscoring her commitment to conscious creativity and a slow, thoughtful approach to fashion.
Founded in 1994 by Consuelo Castiglioni, Marni has always occupied a singular place in Italian fashion. While its peers chased polish or sensual glamour, Marni was quirky, instinctive, and art-driven. Its mix of prints, textures, and eccentric accessories cultivated a devoted following among creative insiders.
Yet the brand’s growth has not kept pace with its siblings within the OTB Group. In 2023, Marni posted sales growth of 8%, falling behind Maison Margiela’s 23% surge and Diesel’s 17%. At group level, OTB reported a 4.4% decline in early 2024. For Renzo Rosso, OTB’s founder, and his son Stefano, appointed as Marni’s CEO in May 2024, a strategic rethink was inevitable.
The departure of Francesco Risso, who had steered Marni with a flair for theatrical extravagance and artisanal showpieces, opened the way for change. With Rogge’s appointment, the signal is clear: a pivot back towards Marni’s original DNA of wearable eccentricity, underpinned by craftsmanship and femininity.
For Rogge, there is also a symbolic thread: she is only the second woman to take the helm at Marni, following its founder. Castiglioni once told Vogue in 2013: “My approach when I design a collection is instinctive. I am inspired by many things that surround me - nature, art, different cultures. Life itself is inspiring.”
This philosophy resonates with Rogge’s own instinctive process. Like Castiglioni, she embraces intuition, yet her Antwerp training infuses it with structure and thought. Her pattern-making, meticulous yet generous, carries a warmth that avoids austerity. The result is clothing that feels intellectual but never alienating, original yet inviting.
The challenge before Rogge is complex. Marni’s annual revenues are estimated between €230 and €250 million, with Asia accounting for nearly 40% of sales. The brand’s accessories line - bags, shoes, jewellery - remains a vital engine for growth, alongside categories like homeware and creative collaborations.
Rogge must, therefore, not only bring vision to the runway but also synchronize Marni’s design language across these areas. Her background, with experiences spanning New York, Antwerp, and global celebrity circles, equips her for this task.
Her true debut collection for Marni is expected for Spring/Summer 2026 and will be closely watched. Investors and critics alike will see it as the first test of whether her vision can translate into commercial momentum while preserving Marni’s spirit.
“I have long admired Marni for its independent spirit,” Rogge said upon her appointment. “To step into a role defined by such visionary creative directors is both humbling and inspiring. I look forward to shaping what comes next.”
Her words echo the house’s ethos: independence, instinct, artistry. As Marni enters this new chapter, Rogge carries not only the weight of legacy but also the promise of quiet reinvention.
In an industry where change is constant and often abrupt, her challenge is to prove that eccentricity can still be a language of relevance. If Margiela gave fashion its deconstruction, and Dries Van Noten its colour-drenched romance, perhaps Meryll Rogge will be remembered as the designer who returned eccentricity to the realm of the wearable - and in doing so, gave Marni back its soul.
