Italian-born and London-based designer Micol Ragni creates clothes for the body with the body’s
surrounding energy in mind; a concept that has enticed artists and goddesses like Kelela, Shirley
Manson, and Erykah Badu. Fluid yet structural shapes manipulate the body’s form as street style
fashion is infused with a touch of eccentric craftsmanship.
You’ve mentioned before that you wish people would understand
how clothes influence feelings, can you elaborate on that?
I believe that what you wear has an undeniable power of influencing how
you feel, as well as being able to change the perceptions others have of
you. I believe my very first impulse to make clothes came from the need to
protect myself from unwanted attention while simultaneously
communicating in my own secret language. People who have worn my
designs told me they inspired confidence and a sense of strength in
themselves even when they felt like they didn’t posses it – I think this is
beautiful and I feel honoured if I can influence people’s feelings in this
In fashion, the term ’wearable’ is always thrown around as if it had a
distinct definition. When does something stop being wearable and
I agree that it is hard to define what ‘wearability’ is. I think a garment
becomes unwearable simply when you cannot walk in it. In a more general
sense, a garment is unwearable when it crosses over to being a costume.
My garments transcend the idea of ‘wearability’ in a sense that they exist
in their intact form when removed from the body because of the sculptural
physicality. However, it would be a misconception to say they aren’t
‘wearable’ as they are still very much made with utility foremost in mind.
As a young designer and label, how do you deal with the pressures of
I would like mainstream fashion production to be far more humane and
focused on sustainability. I believe that technology will take a more and
more dominant role in the future, and ideally this will lessen the impact
mainstream fashion production has on humans and our planet alike. I am
intrigued and hopeful that technology such as 3-D printing could develop
and become a part of how fashion enterprises produce clothes in the
future. Ideally there will also be a focus on creating clothes that are
What is it about manipulating the body with form and volume that
This is something I am very passionate about and that is at the core of my
creative process. Manipulating form and volume is a way to create a
representation of the fact that we are not limited or confined to the
dimensions of our bodies. I believe that the human being that we see with
our human eyes is not all there is. I want to show that we are much more
than our skin and that it is possible to express and visualise the energy
around the human body – through form and volume.
Italian fashion has a very strong concept of itself, with household
names maintaining a specific image of luxury and elegance. Describe
in what way your Italian heritage comes through in your designs and
how it reinvents Italian fashion.
In some ways my Italian heritage definitely makes itself known. I source all
my fabrics, and all my production is based in Italy. I think my Italian
heritage has got me focusing and putting more thought into utilitarian
function beyond presentation. From a design perspective I am more
connected to the London scene, but I would not want to be defined by it. I
actually put a lot of thought into wanting to make my aesthetic more
universal. One of my strongest points of principle is that my brand should
have no geographical point of origin or heritage.
Describe the person you have in mind when you design — what is the
essence of the Micol Ragni customer?
To sum things up… the essence of the Micol Ragni’s woman is about being
someone who dresses for themselves and doesn’t give a shit about what
anyone else thinks.