Simone Rocha made excellent work of her Irish roots, drawing on the west of the island — Connemara — its Catholic traditions and seaside landscape for collection of beautiful melancholy.


It was Rocha’s finest work yet, an elevation of her girlish signatures to the grown up via sophisticated cuts and fabrications.


Alluding to the churchgoing rites of mourning and communion, Rocha worked mostly in black and white with moments of mossy green and gold.


Classic silhouettes — structured dresses with full skirts and tailoring — were subverted with drooping, deconstructed ruffles, and typically conservative pearls were strategically placed on collars, cuffs and ruffles for a modern edge.


Rei Kawakubo’s influence was obvious, particularly in the finale of models wearing chaste white dresses, their heads and upper bodies veiled in artfully messy tulle. But Rocha held her focus, developing her own way of lacing the proper with pretty perversion.

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