Meryll Rogge

Meryll Rogge is a Belgian designer whose career combines institutional studio work, consultancy and independent brand building. After studying law in Namur and fashion at the Royal Academy of Fine Arts Antwerp, she moved to New York in 2008 for Marc Jacobs, beginning as an intern and progressing through womenswear design to a studio leadership role during a seven-year tenure.

Rogge returned to Belgium in 2015 as head of womenswear at Dries Van Noten, remaining in the in-house role for four years before continuing as a consultant on the Puig-backed beauty and fragrance project until early 2025. She founded her own label around 2019–2020, developing it from a rural Belgian studio, and in September 2025 co-founded the seasonless knitwear brand B.B. Wallace with Sarah Allsopp.

Marni appointed Rogge creative director on 15 July 2025, while allowing her independent businesses to continue separately. Her first public Marni runway was Fall/Winter 2026, presented in Milan on 26 February 2026, where she used the early archive as material for a new collection rather than treating it as a fixed set of signatures.

Rogge’s work joins the discipline of a large design studio to the resourcefulness of an independent label. Familiar wardrobe forms are altered through drape, compact tailoring, knit construction and displaced details, while upcycled textiles, handwork and offbeat colour prevent the clothes from settling into straightforward classicism.

Her namesake collections draw from personal memory, fashion history, nightlife and ordinary objects without turning those references into costume. Menswear pragmatism often stabilises more decorative gestures, and tactile knitwear or found materials give the work a lived-in quality that remains compatible with production and repeated wear.

At Marni she described her archival method as recollection. Early neutral outerwear, shearling, narrow shoulders and the house’s first restrained uses of print became points of departure for technical fabrics, altered accessories and sculptural jewellery. The approach acknowledges the Castiglioni archive while keeping proportion, function and contemporary studio practice under her own authorship.