Stéphane Rolland showed a strong, sculptural collection for spring, which was rooted in Brazil.
He long had loved Marcel Camus’ film “Black Orpheus,” from 1959, which riffs on the Greek legend of Orpheus and Eurydice.
“I started to build the story in three parts. The first is Rio in the ’70s — architecture, the modernity of the structure,” said Rolland, explaining the second section refers to Brazil’s Amazonian roots, and the Indigenous people from the rainforest. “There are sculptures on the dresses in lacquered form, in solid form, and there are many new techniques. Everything is 3D, and it’s very strong.”
The third part harkens back to more of Brazil’s history — the conquistadors, and their gold and other treasures. The sumptuousness of the church in Bahia inspired Rolland, as well.
“I wanted the final part of the show to be really rich, but [also] modern and sexy,” he continued.
Silhouettes were often sculptural. The opening look was an asymmetric, long dress, in white iridescent voile, with an egg-shaped sculpture made of white jersey perched atop the left shoulder.
The mini “sambadrome” dress was made in black gazar, which flared in waves around the waist and chest, swelled up over a shoulder and around the back, flowerlike in its movement.
“I can sculpt the gazar like a stone,” Rolland said.
The long, formfitting coffee brown dress in jersey and gazar came with graphic embroidery created out of lacquer and white jersey.
The last look, a voluminous wedding dress of golden cloqué lamé, was embellished on the front, bottom and hood with golden arched sculptures. In making the garment, Rolland had in mind a gilded Madonna sculpture, called Our Lady of Aparecida.
He created large jewelry pieces, such as bracelets and earrings, in metal, sculpted wood and gemstones — including emeralds, jade and malachite — that were worn with many looks.
“Every single detail is very precious,” Rolland said.