Arthur Elgort and Peter Lindbergh’s fashion photos from the Christy/Linda/Stephanie era were Ryan Roche’s main reference for her fall collection. Working in hues of blush, ivory, red and black and softly elongated silhouettes cast a gracefully subdued Nineties mood, but it would be wrong to call Roche’s work minimalist. A knitwear aficionado, her poetic takes on sweater dressing were actually beautifully maximal despite the hushed tones and languid shapes. “I’m always trying to push the envelope for knitwear,” said Roche backstage.

 

She introduced new, long, swingy A-line silhouettes for dresses and skirts, as well as silk mohair yarns used for chicly spazzy furry sweaters. Not everything was a knit, but the category was definitely the collection’s standout. Two crocheted gowns — one sleeveless in blush, the other with long sleeves and a fringed yoke in red — were particularly special and defied the casual limits often associated with knits.

By  on February 15, 2016

Arthur Elgort and Peter Lindbergh’s fashion photos from the Christy/Linda/Stephanie era were Ryan Roche’s main reference for her fall collection. Working in hues of blush, ivory, red and black and softly elongated silhouettes cast a gracefully subdued Nineties mood, but it would be wrong to call Roche’s work minimalist. A knitwear aficionado, her poetic takes on sweater dressing were actually beautifully maximal despite the hushed tones and languid shapes. “I’m always trying to push the envelope for knitwear,” said Roche backstage.

 

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