Thursday, February 21, 2013

Simone Rocha Fall 2012

The immediate impressions from this collection of scattered white lace in a sea of serious faces hiding behind bedraggled black hair and sensible brogues are such seriousness. When I envision what it would be like to be a serious, full-time fashion blogger this is what I tend to dream of seeing with short hemlines that only skinny models could get away with under the blitz of camera flashes. Being unable to let go of the lessons imparted to me from high school I am reminded Ophelia from Hamlet as she slowly descends into madness- drowning but being like a mermaid in a river and finally her funeral. But as the collection evolves and really takes full shapes it's as if she falls into a wormhole and is stripped down from dainty lace to futuristic silver and holographic material. And I love that unexpected turn in the narrative. 

I was wounded to find some Senso high heels in my size on eBay unexpectedly removed from listing when I would be madly bidding on them at this very second. But the strong structure of warm coats suitable for winter, metallic tones of the jackets and amazing but simple and elegant shoes is teaching me to love again (lol ew, did I just say that?). Reviewing collections is something I am trying to get into the habit of as Melbourne Fashion Festival slowly approaches and I stick my hand up for every competition opportunity to be introduced to a very premiere and exclusive industry. Writing about Simone Rocha though has managed to come really easily, because the clothes just do so much justice to her name, she has an adorable and shy smile at the end of every show and this being my third post of her work I am still hungry for me. Although being chronological should have been something to consider in the name of professionalism.

Being someone steeped in Western customs of life, white seems very ceremonious to me. It's a stigma of Christianity we wear during important events such as baptisms, weddings and funerals (depending on the note you like to go out on). My best friend disclosed her fear of the colour and I think being a woolly sheep I also took on the phobia, but white pants have always seen horribly impractical to me and only something you could wear in a hospital without raising an eyebrow. But in this collection the white skirts offer a range of luxurious textures and a very demure and mature side that I do associate with Rocha's designs, but given her age it just seems so unexpected and therefore miraculous that she has such foresight. If I could personally reserve an age bracket for when I would wear these clothes it would probably be at the age of thirty-one or thirty-two, inching ever closer to the dreaded mid-life crisis and aching to be mistaken for someone under the age of thirty. If my body allows me to fit into clothing below an Australian size twelve that is. Yes, the fashion industry can be rather fickle at times but there is progress in the way of providing clothes that look good for naturally bigger body shapes.

Now where was I? Oh right, in the midst of a fashion critique. If you think I am struggling to hold focus now, just you wait till I'm sitting in my Biology laboratory sessions at university again for three hours at a time. Now that is when I will have my MAJOR moments of weakness. But enough about me; the cropped locks of the models and upturned ponytails allowed the unique collars to be shown off which is really one of Rocha's strengths when it comes to making beautiful blouses. There's something to suit everyone from harlequin frilled turtlenecks which seem whimsical in the way children dream of running away to join the circus, collars for serious boardroom meetings and speed dating, sheer inserts underneath, light embellishment and just good old-fashioned business shirts with a hint of luxury. Miu Miu's Summer/ Spring 2010 collection still remains one of my absolute and unshakable testaments to fashion and a favourite collection of all-time, but come to think of it, their collars were all a variation of the same design with different dresses and shirts; complemented with designs an motifs. This is something more creative from a dress-maker's point of view and I think it's easy to lose sight of that in modern fashion what with digital print techniques on silk and so much room for colour. The simple white and silver really allows the dresses and tops to be seen at face value though, a definite advantage.

Some furniture upholstery, bedding and curtains can get out of hand; the IKEA team all started off in art school and had big dreams but then settled into the cosy niche of practicality. So their unharnessed creativity bursts at the seams for odd chairs and couches. What... you don't believe me? I'm sure we all have some relative we really should visit more often to sit down and have tea with, in a house that hides strange odours and a collection of furniture with eclectic decorations to say the least. And that painting of the crying clown in the corner? Unspeakable, counselling can only do so much. Pressing forward: without the distraction of colour Simon Rocha manages to avoid resembling a comfortable armchair without tapestry, burgundy, olive or baroque material. And I am so glad. We all can't be Sherlock Holmes at the end of 'A game of shadows' and magically peel ourselves from an armchair from which we spied on our best friend from. Because that was more of a costume rather than an outfit in which we have to commit ourselves to for an entire day or maybe just an afternoon. It's still a long time to be wearing something, even more so if you don't find it fantastically comfortable.

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