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
becomes unwearable?

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
fast fashion?

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

completely biodegradable.


What is it about manipulating the body with form and volume that
intrigues you?

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.


photographs MICOL RAGNIstyling MICOL RAGNImodelNAJIAmake up & hairMICOL RAGNI