Q&A with Eleanora Morrison
1. Who are your favorite designers currently?
Alessandro Michele’s creative point of view speaks to my soul to the point where I wonder if our spirits were somehow connected in a former life. That sounds very woo woo, I know. While he was creative director at GUCCI, it was my favorite brand. Not just for clothing and accessories, but because of the storytelling—the campaigns, their back stories, and Alessandro’s research process. He is fairly cryptic on his Instagram, but I watch it like a hawk for the rare glimpses into his magical mind’s eye when he does share. I eagerly awaited and loved his first collection for Valentino which recently debuted at Milan Fashion Week, now that he has landed there as creative director.
I am fascinated by Daniel Roseberry at Schiaparelli (a Texan!). His playful surrealism and unique imagination really inspire me and challenge me to think more daringly as a creative. He has continued Elsa Schiaparelli’s legacy so elegantly and seamlessly since he was appointed creative director, while also pushing boundaries and producing such bold and memorable works of art. I respect his genius greatly.
In the same category of the edgier designers who I’ve been drawn to as I learn more about design, I must give a nod of respect and admiration to Lucie and Luke Meier of Jil Sander and Rei Kawakubo of Comme de Garçons. Of course, in another category entirely, there are the brands Patou for its playfulness, Simone Rocha for its touch of tutu punk, Erdem for its timeless romance…yikes, I guess I could go on and on.
Lastly is my current infatuation with ETRO. I am so inspired by their textiles. I deeply relate to Veronica Etro’s creative point of view as well. I recently read an article about her in The New York Times Style Magazine from 2019 while researching ETRO’s history, trying to figure out the connection I feel to the brand’s ethos and designs.
In the article, Veronica describes that she sees the world as one big collage. I feel that to my core. It’s how I approach all of my work, by connecting the constellation of tiny sparks of inspiration with one thread of a universal message that (hopefully) connects with an audience. I have MOSS to thank for my re-introduction to and appreciation for ETRO. I’ve now collected two formerly-loved ETRO bags from the store. Both of them caused me to gasp out loud when I saw them. There is just something about the fabric and the maximalism that feels so luxurious and authentic to me.
My grandmother always wore silk ETRO scarves. Her dear friend was VP of Sales for the brand and he would gift her one for Christmas every year. ETRO is very nostalgic for me for that reason. I can still hear the surprise in her voice when he would pay us all a holiday visit to her house in Connecticut from New York City, as she opened the box to find what new pattern awaited her inside.
I have a lot of Italian in my genes, so it doesn’t surprise me at all that I am very drawn to Italian designers and brands. That essence of inspiration and passion and beauty is culturally so strong, and when a creative director is a careful steward of that sacred energy through their designs, it translates to the consumer and moves them, even if they don’t know why. That is the beauty of art.
2. What is your favorite MOSS purchase?
My two ETRO bags. The most recent one is my favorite of the two. The color palette is neutral but the personality is tastefully loud.
3. What inspires you most about fashion?
Just as with any other form of art, I am most inspired by the philosophy and the ideas behind the designs, which have the power to transcend the medium. Fashion, for me, is not about trends or materialism. It is especially not about homogenization or convenience. It is about storytelling and communication, the act of personal creation over time, intellectual curiosity, and the reverence for craft. It is a way of intentionally beautifying one’s life through years and years of learning who you are and what your soul wants to say to the world.
Style is about standing out, not fitting in. That sort of quiet bravery takes leadership and commitment in a world where we are sold sameness in a sea of neverending affiliate links. Part of what I appreciate so much about MOSS is that it provides a museum-like creative experience for those of us in San Antonio who take great care in curating and collecting pieces that are crafted with quality. The more lives a garment or item has lived before it comes to me, the more intrigued and inspired I am by it. This is my personal philosophy with both dressing and decorating. Life is art!
4. How often do you clean out your closet?
Once per year. I am an editor by profession and obsession, so this is a very sacred process for me. I like to comb through my closet and intentionally part with items that no longer align with who I am and how I am evolving. It’s just an essence, a feeling that can’t really be put into words. I have a vision of who I am working to be in the future, as a creative, a leader, a mother, a partner, a friend–the garments that I spiritually “outgrow” I release and donate in the hopes that they contribute to someone else’s story. It also helps me remember what I do own so that I don’t over consume, or make spontaneous purchases that I regret. I have practiced this for about ten years now, simply because we used to move so often, but I have since come to realize how important this ritual is for my personal and creative growth.
5. What are you currently coveting?
Both the colorfully patterned GUCCI blazer and the black Comme des Garçons blazer that I wore in this shoot. Although they have an opposite vibe from each other, I can’t stop thinking about either of them—the Comme de Garçons blazer for its avant-garde structure and sleek edge, the GUCCI blazer for its oversized fit and bold color story, and what I feel both garments communicate about the wearer. I joked during the shoot that each one felt like the two versions of my alter ego.