Unveiling Poetic Paradoxes: Rocha's Vision of Emerging Womanhood
The Grandeur of Setting and Concept
Simone Rocha, celebrated for her distinctive ability to meld tradition with subversive elements, presented her newest collection in the majestic setting of Mansion House, the venerable 18th-century official residence of London's Lord Mayor. Her choice of such a distinguished locale for displaying her creations is a signature move, rooted in her fascination with placing her designs in environments that simultaneously affirm and challenge their perceived belonging. This season, her creative process was ignited by Justine Kurland's 2020 photographic compilation, 'Girl Pictures,' alongside Maureen Freely's evocative work, 'My Dress Rehearsal: or How Mrs. Clarke taught Me How to Sew.' Both texts deeply examine the heightened self-awareness that marks the threshold of adolescence—a feeling that, as Rocha notes, never fully dissipates in later life. She articulated this core emotional state, envisioning it within a specific, imagined scenario: 'It's this slightly teenage, debutante feeling, when you're on display and you don't really want to be there.'
A Collection of Architectural Forms and Emotional Depth
This conceptual framework informed the collection's design, transforming the opulent venue into a metaphorical prom ballroom and a magnified representation of the adult realm. The garments presented mirrored the room's splendor with their own grandiosity. Skirts and dresses were dramatically expanded through the incorporation of crinoline, panniers, hooped trapeze structures, and even bustles. The selection of materials was lavish, including luxurious organzas, sateen georgette, shimmering silver sequins, and iridescent scalloped taffeta. However, the sophisticated composure of these elaborate textiles was deliberately destabilized by a series of unconventional details: slight irregularities in the crinolines, conspicuously awkward necklaces, and asymmetrically arranged panniers that moved fluidly rather than maintaining rigid form. Additionally, trailing skirts and bras peeking untidily from bandeaus added to this calculated sense of disarray.
Integrating Menswear with Delicate Accents
Another layer of thoughtfully orchestrated awkwardness was introduced through the inclusion of a dozen menswear looks within this primarily womenswear presentation. These masculine ensembles, much like some of their female counterparts, frequently featured actual lilies or pressed flowers encased in organza, often layered beneath transparent or floral-printed plastic wraps. A notable piece was a black menswear suit, its jacket adorned with an integrated bouquet sash, creating a visually striking arrangement. This design suggested that the wearers, akin to the flowers, were nurtured for their prime and then carefully presented for admiration and reciprocal appreciation. Rocha expressed her intent: 'I wanted this idea of giving and receiving.'
Subtle Subversion and Playful Femininity
Further diminishing the formal couture aesthetic of the salon presentation were intimate, innocent touches. These included clutch bags shaped like lace-edged pillows and jacquard fabrics featuring gently acidic ditsy floral patterns, designed to evoke the softness of eiderdowns. Footwear options ranged from a novel chisel-toed ballet pump sneaker with a subtle wedge heel to a refreshingly chaotic continuation of Rocha's collaboration with Crocs. Ultimately, this collection showcased garments that revealed vulnerability as much as they projected strength. As Rocha herself summarized, 'I wanted to propose a playful perspective on femininity, with all its twists and turns.'