There was an eerie Victorian edge to this collection that took its cue from Simone Rocha’s vintage dolls and unfurled in sweeps of satin and tulle, flashes of lace and white eyelet, plus ruffles and bows galore.

The designer played with volume, proportion and layering, as in a sequined apron skirt over a flower-printed gown, or a black embroidered tulle dress over a long satin one. Those silhouettes were often cluttered and unwieldy, overwhelming models’ frames and bordering on cartoonish.

Rocha’s simplest, most streamlined looks worked best. They included long, liquid satin gowns in cream or black, with Forties shoulders and bows at the elbow, and a white trench, its collar and cuffs edged in wisps of matching lace. Tulle dresses glittered with sequin flowers, while some skirts were adorned with pleated, white cotton eyelet.

The designer said she was aiming for “innocent and playful and naïve. I used to collect all china dolls, and all their little clothes and socks and boots and pearls.” Rocha added that she also loved the feeling of “making and doing,” which is why she used ticking and blanket stitches for a “hand-finished feel” on sculpted dresses and suits, some dotted with black sequin flowers.

Other standouts included dark flower-printed dresses with pouf sleeves, full skirts and an American Civil War feel while paper-doll shapes picked out in fine red thread gave a voluminous white tulle dress a sinister edge.

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