For her sophomore show as creative director, Meryll Rogge kept pushing the envelope with color and quirks.

Marni was always quirky. Now under the creative direction of Belgian designer Meryll Rogge, it’s quirkier than ever — and also younger, a bit grungier, and occasionally even willfully unflattering.

Save for a trio of fingertip length coats in curly goat fur with Mongolian lamb trim, and some leather blazers and breeches, there weren’t many obvious signposts of luxury either.

Instead your eye went to certain items, like her melange sweaters with some micro-sequins sparkling in neat rows on the striped chest panels; a tech-y windbreaker in a fancy wallpaper print, or a prim checkered coat that situated Rogge’s main references in the midcentury period.

For her womenswear, the designer focused on a slender, tubular silhouette, with a host of shift dresses in leather or hefty fabrics like duchesse satin. Model Mariacarla Boscono, making her first runway appearance in Milan after Tuesday’s Vogue World event, closed the show in yet another leather shift, hers in black leather enlivened with a few arcs of aquamarine beading.

“We’re really happy because she’s such a huge part of the Marni history,” Rogge enthused during a preview.

Some shift dresses were punctuated with a chest porthole anchored by a beefy belt, or decorated with plastic discs, which read immediately as Marni. They recurred as small sequins on the footwear, or on the front of satin skirts.

The menswear felt a tad more coherent — if you want to transmit low-key lounge lizard energy with your flat-front slacks, snake-print belt, halterneck sweater vest and boxy blazer.

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