This season, recent Wallpaper* Design Award winner Simone Rocha shot a rebellious streak into her Elizabethan-inspired collection, once again uniting her unique blend of contemporary cool with stealth-luxe sophistication. On the runway at the Tate Modern, meticulously finished bonded wool coats with engorged ruffled sleeves were finished with encrusted amber beads. These clusters were then extended to the scooping necklines of full-skirted black wool dresses. On one, the tightly beaded clusters continued down to the top of the dress' ruffled skirt, marking out where the era's corset traditionally ended, and would also go on to jewel fawn-hued fur. The thing about Rocha is that she does edgy elegantly, whether it be A/W's black pony skin skirt suits, a bomber of yellow snakeskin - which also covered pointed slippers, lace-up boots and her updated brogue - or gold embellished tartan. One look had ruffles protruding from a tube top, fusing Rocha's innocent schoolgirl and punk anarchist aesthetics. And, as usual, her fabrics were impeccable. A grown-up red mini-crini dress, cut from latticed brushed wool and tulle, was spliced in the middle, with a flash of skin smartly restoring the designer's youth appeal. Her signature high-tech metallic finish was also in the mix, drawn into 'The Tudors' theme by brushing up against a plush fur gilet. Just as many of her queenly models wore a beaded tiara on top of their braided de-wigged hair.
Photography: Jason Lloyd-Evans
This season, recent Wallpaper* Design Award winner Simone Rocha shot a rebellious streak into her Elizabethan-inspired collection, once again uniting her unique blend of contemporary cool with stealth-luxe sophistication. On the runway at the Tate Modern, meticulously finished bonded wool coats with engorged ruffled sleeves were finished with encrusted amber beads. These clusters were then extended to the scooping necklines of full-skirted black wool dresses. On one, the tightly beaded clusters continued down to the top of the dress' ruffled skirt, marking out where the era's corset traditionally ended, and would also go on to jewel fawn-hued fur. The thing about Rocha is that she does edgy elegantly, whether it be A/W's black pony skin skirt suits, a bomber of yellow snakeskin - which also covered pointed slippers, lace-up boots and her updated brogue - or gold embellished tartan. One look had ruffles protruding from a tube top, fusing Rocha's innocent schoolgirl and punk anarchist aesthetics. And, as usual, her fabrics were impeccable. A grown-up red mini-crini dress, cut from latticed brushed wool and tulle, was spliced in the middle, with a flash of skin smartly restoring the designer's youth appeal. Her signature high-tech metallic finish was also in the mix, drawn into 'The Tudors' theme by brushing up against a plush fur gilet. Just as many of her queenly models wore a beaded tiara on top of their braided de-wigged hair.
Photography: Jason Lloyd-Evans
This season, recent Wallpaper* Design Award winner Simone Rocha shot a rebellious streak into her Elizabethan-inspired collection, once again uniting her unique blend of contemporary cool with stealth-luxe sophistication. On the runway at the Tate Modern, meticulously finished bonded wool coats with engorged ruffled sleeves were finished with encrusted amber beads. These clusters were then extended to the scooping necklines of full-skirted black wool dresses. On one, the tightly beaded clusters continued down to the top of the dress' ruffled skirt, marking out where the era's corset traditionally ended, and would also go on to jewel fawn-hued fur. The thing about Rocha is that she does edgy elegantly, whether it be A/W's black pony skin skirt suits, a bomber of yellow snakeskin - which also covered pointed slippers, lace-up boots and her updated brogue - or gold embellished tartan. One look had ruffles protruding from a tube top, fusing Rocha's innocent schoolgirl and punk anarchist aesthetics. And, as usual, her fabrics were impeccable. A grown-up red mini-crini dress, cut from latticed brushed wool and tulle, was spliced in the middle, with a flash of skin smartly restoring the designer's youth appeal. Her signature high-tech metallic finish was also in the mix, drawn into 'The Tudors' theme by brushing up against a plush fur gilet. Just as many of her queenly models wore a beaded tiara on top of their braided de-wigged hair.
Photography: Jason Lloyd-Evans
This season, recent Wallpaper* Design Award winner Simone Rocha shot a rebellious streak into her Elizabethan-inspired collection, once again uniting her unique blend of contemporary cool with stealth-luxe sophistication. On the runway at the Tate Modern, meticulously finished bonded wool coats with engorged ruffled sleeves were finished with encrusted amber beads. These clusters were then extended to the scooping necklines of full-skirted black wool dresses. On one, the tightly beaded clusters continued down to the top of the dress' ruffled skirt, marking out where the era's corset traditionally ended, and would also go on to jewel fawn-hued fur. The thing about Rocha is that she does edgy elegantly, whether it be A/W's black pony skin skirt suits, a bomber of yellow snakeskin - which also covered pointed slippers, lace-up boots and her updated brogue - or gold embellished tartan. One look had ruffles protruding from a tube top, fusing Rocha's innocent schoolgirl and punk anarchist aesthetics. And, as usual, her fabrics were impeccable. A grown-up red mini-crini dress, cut from latticed brushed wool and tulle, was spliced in the middle, with a flash of skin smartly restoring the designer's youth appeal. Her signature high-tech metallic finish was also in the mix, drawn into 'The Tudors' theme by brushing up against a plush fur gilet. Just as many of her queenly models wore a beaded tiara on top of their braided de-wigged hair.
Photography: Jason Lloyd-Evans
This season, recent Wallpaper* Design Award winner Simone Rocha shot a rebellious streak into her Elizabethan-inspired collection, once again uniting her unique blend of contemporary cool with stealth-luxe sophistication. On the runway at the Tate Modern, meticulously finished bonded wool coats with engorged ruffled sleeves were finished with encrusted amber beads. These clusters were then extended to the scooping necklines of full-skirted black wool dresses. On one, the tightly beaded clusters continued down to the top of the dress' ruffled skirt, marking out where the era's corset traditionally ended, and would also go on to jewel fawn-hued fur. The thing about Rocha is that she does edgy elegantly, whether it be A/W's black pony skin skirt suits, a bomber of yellow snakeskin - which also covered pointed slippers, lace-up boots and her updated brogue - or gold embellished tartan. One look had ruffles protruding from a tube top, fusing Rocha's innocent schoolgirl and punk anarchist aesthetics. And, as usual, her fabrics were impeccable. A grown-up red mini-crini dress, cut from latticed brushed wool and tulle, was spliced in the middle, with a flash of skin smartly restoring the designer's youth appeal. Her signature high-tech metallic finish was also in the mix, drawn into 'The Tudors' theme by brushing up against a plush fur gilet. Just as many of her queenly models wore a beaded tiara on top of their braided de-wigged hair.
Photography: Jason Lloyd-Evans
This season, recent Wallpaper* Design Award winner Simone Rocha shot a rebellious streak into her Elizabethan-inspired collection, once again uniting her unique blend of contemporary cool with stealth-luxe sophistication. On the runway at the Tate Modern, meticulously finished bonded wool coats with engorged ruffled sleeves were finished with encrusted amber beads. These clusters were then extended to the scooping necklines of full-skirted black wool dresses. On one, the tightly beaded clusters continued down to the top of the dress' ruffled skirt, marking out where the era's corset traditionally ended, and would also go on to jewel fawn-hued fur. The thing about Rocha is that she does edgy elegantly, whether it be A/W's black pony skin skirt suits, a bomber of yellow snakeskin - which also covered pointed slippers, lace-up boots and her updated brogue - or gold embellished tartan. One look had ruffles protruding from a tube top, fusing Rocha's innocent schoolgirl and punk anarchist aesthetics. And, as usual, her fabrics were impeccable. A grown-up red mini-crini dress, cut from latticed brushed wool and tulle, was spliced in the middle, with a flash of skin smartly restoring the designer's youth appeal. Her signature high-tech metallic finish was also in the mix, drawn into 'The Tudors' theme by brushing up against a plush fur gilet. Just as many of her queenly models wore a beaded tiara on top of their braided de-wigged hair.
Photography: Jason Lloyd-Evans
This season, recent Wallpaper* Design Award winner Simone Rocha shot a rebellious streak into her Elizabethan-inspired collection, once again uniting her unique blend of contemporary cool with stealth-luxe sophistication. On the runway at the Tate Modern, meticulously finished bonded wool coats with engorged ruffled sleeves were finished with encrusted amber beads. These clusters were then extended to the scooping necklines of full-skirted black wool dresses. On one, the tightly beaded clusters continued down to the top of the dress' ruffled skirt, marking out where the era's corset traditionally ended, and would also go on to jewel fawn-hued fur. The thing about Rocha is that she does edgy elegantly, whether it be A/W's black pony skin skirt suits, a bomber of yellow snakeskin - which also covered pointed slippers, lace-up boots and her updated brogue - or gold embellished tartan. One look had ruffles protruding from a tube top, fusing Rocha's innocent schoolgirl and punk anarchist aesthetics. And, as usual, her fabrics were impeccable. A grown-up red mini-crini dress, cut from latticed brushed wool and tulle, was spliced in the middle, with a flash of skin smartly restoring the designer's youth appeal. Her signature high-tech metallic finish was also in the mix, drawn into 'The Tudors' theme by brushing up against a plush fur gilet. Just as many of her queenly models wore a beaded tiara on top of their braided de-wigged hair.
Photography: Jason Lloyd-Evans
This season, recent Wallpaper* Design Award winner Simone Rocha shot a rebellious streak into her Elizabethan-inspired collection, once again uniting her unique blend of contemporary cool with stealth-luxe sophistication. On the runway at the Tate Modern, meticulously finished bonded wool coats with engorged ruffled sleeves were finished with encrusted amber beads. These clusters were then extended to the scooping necklines of full-skirted black wool dresses. On one, the tightly beaded clusters continued down to the top of the dress' ruffled skirt, marking out where the era's corset traditionally ended, and would also go on to jewel fawn-hued fur. The thing about Rocha is that she does edgy elegantly, whether it be A/W's black pony skin skirt suits, a bomber of yellow snakeskin - which also covered pointed slippers, lace-up boots and her updated brogue - or gold embellished tartan. One look had ruffles protruding from a tube top, fusing Rocha's innocent schoolgirl and punk anarchist aesthetics. And, as usual, her fabrics were impeccable. A grown-up red mini-crini dress, cut from latticed brushed wool and tulle, was spliced in the middle, with a flash of skin smartly restoring the designer's youth appeal. Her signature high-tech metallic finish was also in the mix, drawn into 'The Tudors' theme by brushing up against a plush fur gilet. Just as many of her queenly models wore a beaded tiara on top of their braided de-wigged hair.
Photography: Jason Lloyd-Evans
