Review of Rochas Fall 2022 Fashion Show
Bird of Paradise
By Dao Tran
For Charles de Vilmorin’s second outing at Rochas titled “Taking Flight,” the invitation featured an enigmatic, phoenix-like bird rendition of the artist. The fog machine heightened the atmosphere of mystery, as did the Gen Z black talons the models were all sporting with their downturned eye makeup. An evolution from the brilliant splash of color that was his eye-catching debut towards more classicism brought on by settling into the house. Apparently he was enamored of a winter black in the Rochas archive, building into it many textures and layers and stories.
His joie de vivre is in full force, the romantic details, poetic and feminine flourishes.
There’s a vibrance and dynamic energy to the clothes, like they’re meant to stride into the room and command attention. De Vilmorin has a hand for drama – although he’s toned down the volume for this season – creating impactful shapes without being heavy-handed.
The fluttering wings on the invitation were repeated in the sleeves and even the hats of some of his creations. Although the fluid way they moved down the runway made me rather think of exotic fish fins in water.
De Vilmorin’s attention to detail and cohesiveness of the collection reaches down to the footwear, for example, integrating the prints of the season. He does great boots, and as much as the fabulously oversized puss-in-boots looks from the last outing were statement, the studded ones of this season will get more wear. Another effect of growing into a brand, seeing what your audience responds to, and learning to reach a wider range of people.
By the way, obsessed with the above top and these other beautifully constructed tops and pants.
De Vilmorin is a very talented artist. I always find it interesting when designers helm different houses, like Karl Lagerfeld, Raf Simons, Virgil Abloh and J.W. Anderson. You can see where their own heart and proclivities lie in their own brand, but also their true abilities blossom when they are taxed with producing collections for other houses. It gives you insight into their creative range and the opportunity to experience them in different iterations. It forces them to flex their intellectual muscle as well, and if you look at the original 1934 Marcel Rochas white seagull dress that de Vilmorin took as his point of departure to create this season’s ivory mousseline dress with pleated wings, it perfectly illustrates the workings of his mind, his creative vision and interpretation for the house.
While he speaks of it as “the Rochas spirit taking flight,” I think it’s a clear sign that he is poised to take it to new heights.
De Vilmorin is a creative powerhouse and I’m excited to watch his journey and development through the years.