Sometimes change needn’t be quite so dramatic, especially in a season where there seems to be a lot of it. For instance, take Alessandro Dell’Acqua’s first collection as creative director of Rochas. It was a fresh start simply by definition, intended to communicate the Italian designer’s vision, which he described as “dramatic, more strong, not too sweet. Sweet is in the past.” And yet a sense of history was very much there in the beautiful color, intricate fabric, and mid-century femininity for which this house has come to be known.
The day before his show, Dell’Acqua admitted to a major case of nerves only natural while explaining the artistry in some of the materials. Black organza had been carefully embossed to look like lace; wonderful chiffons had been incorporated with velvet floral patterns; jaunty bats had been woven into a jacquard as a nod to Hélène Rochas who loved a batwing. There was a great sense of texture to what Dell’Acqua was creating, and then it was brought to life through those big A-line and oversize shapes. Patent skirts nipped at the waist then whooshed out to the sides, and in profile, cropped peacoats were like triangles on top of straight, skinny, to-the-knee skirts. And those colors a furry, voluminous overcoat in barely detectable pink, slouchy leather gloves the shade of tangerines worn with a short camel coat and baby blue straight skirt were delightful.
This all said, there are perhaps some codes of the house that needn’t make this transition, namely the penchant toward heavy, unwieldy fabrics. And where there were two coats, two dresses, or two skirts layered on top of each other, one certainly would have done. But that’s the other thing about change: It takes time.
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: VOGUE
Photography by Molly SJ Love & Yannis Vlamos / Indigitalimages
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