Roland Mouret took a turn to the demure, adding tailoring and rich, draped fabrics to a collection inspired by one of his favorite movies, “The Eyes of Laura Mars.” Mouret said the 1978 film speaks to femininity, power and image control, adding that he wanted to address those themes at a time when women are speaking out against harassment in the workplace.

There was a sensuality — and a modesty — to this collection from a designer who made a name with curve-hugging silhouettes and tasteful flashes of flesh. For fall, he worked tapestry-like fabrics with fraying edges into wrap skirts and belted coats with cowl necks, and draped long and dramatic fuzzy capes — in gray or dark red — over models’ shoulders.

Some of his dresses were long and curvy with zippers up the back, but Mouret offset the sexiness with long sleeves and ruffle details. On a similar note, one fluid, strappy dress in va-va-voom red had bare shoulders while the arms were covered in a black cobweb knit.

Tailoring came in the form of roomy trouser suits and coats done in chunky corduroy, or skirt suits with bomber style jackets in Prince of Wales check. Mouret paired wide-leg, side-striped navy trousers with a fitted jacket and blouse with a high, ruffle-edged collar.

It was one of Mouret’s more commercial collections, but that’s not a bad thing. In addition to making a statement about the times, he was also offering up some wardrobe building blocks — wide-leg trousers, oversized knits, soft corduroy coats — in a thought-provoking manner.

By  on February 18, 2018

Roland Mouret took a turn to the demure, adding tailoring and rich, draped fabrics to a collection inspired by one of his favorite movies, “The Eyes of Laura Mars.” Mouret said the 1978 film speaks to femininity, power and image control, adding that he wanted to address those themes at a time when women are speaking out against harassment in the workplace.

There was a sensuality — and a modesty — to this collection from a designer who made a name with curve-hugging silhouettes and tasteful flashes of flesh. For fall, he worked tapestry-like fabrics with fraying edges into wrap skirts and belted coats with cowl necks, and draped long and dramatic fuzzy capes — in gray or dark red — over models’ shoulders.

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