A photograph of Helen Rochas, wife of founder Marcel Rochas, with a fake bird draped over her torso, dominated the third collection for Charles de Vilmorin’s storied French home.
Aiming to create for a woman she described as “quite intellectual and an artist”, she said she was more in translating the home’s heritage into a mood and lifestyle rather than a reference to any particular design features. were interested. “This collection talks about freedom and something ultra sophisticated,” he said before the show.
The emphasis on the waist and plies were the main elements she used to define the silhouette of the season, executed in a mostly black palette to highlight texture and lend an evening dress to the collection. Was. The feathered ornamentation of Madame Rochas was referenced in the prints of feathers and birds, but also in the way the broad sleeves and floor-grazing gowns were fanned in motion. They looked especially striking on the runway.
Three seasons in, the lineup contained compelling and commercially viable pieces—always a plus for a current artistic director. But it also felt like he went too far in this attempt to cut it into an essential expression of Rochas’ identity, stripping away the distinctive flavor that his own beauty had to bring to the process.
Originally published at Pen 18
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