PART DEUX

So here's the next part to my Rodarte ramblings...

After the less than stellar (in my opinion) last few collections, Rodarte was due a come back and boy did they do just that. S/S 10 featured amazonian like women, powerful, strong and utterly mesmerising. The layers, the panelling, the cross-hatching, asymmetrical, slashed at the body, the incongruous variety of fabrics, tattoos and tie dye!! 

(Who knew Death Valley and this slasher style could look so chic?)

And the good times just keep on rolling, right into A/W 10-11 it would seem. A collection of perfect haphazardness. The contrast of the delicate florals against the thick knits that snaked around models' bodies made it all the more wearable. Wrap skirts, plaid, structured shoulders, fringing, feathers, layered socks, and a skirt/trouser combo. 

(Masterclass in layering)

The usual multi-hyphenated list of references was replaced with the idea of the 'ancient coast' in S/S 11, streamlining the collection with a new found sophistication. The clothing presented was practical and creative, allowing it to be worn not just admired. 

  (Striking patterns plus modern shapes equal a beautifully subtle, futuristic collection) 

My faith started to waver after the A/W 12 (it was such a snore I thought I'd bypass it), that is until I saw S/S 12. Oh boy did the girls deliver! There was somewhat of a 1950s silhouette complete with nipped in waist and fluted skirt, structured dresses with peplum detail and manipulated layers of intersected fabrics. The colour palette erred on the Aladdin, with strong echoes of Egyptian costume, but I'm okay with that. Accompanying this rich collection was the playful use of Vincent Van Gogh's infamous sunflower paintings, printed atop tiers of floating silk and chiffon, with the shows final pieces featuring his work 'Starry Night'. The sisters made the well-known and recognisable seem completely new and intriguingly rare.

(Capturing the sunshine and the moonlight in this collection of dramatic contrasts)

A/W 12-13 saw something incredible: orange and black shirked their halloweeny connotations in favour of a chic yet playful take on femininity. But this was nothing compared to what was to come. S/S 13 was a show of contrasts, a sequinned mini with a boxy sweater, laced leather pants with a geometric tee, dramatic floor length skirts with a heavily patterned top. And a review would not be complete without a mention of the leather jacket, a piece that screamed 'bad ass' with its occultish print and dramatic fringing. 

(A/W 12-13 Making orange cool)

(S/S 13 my little leather jacket looks rather sorry for itself in comparison to these)

A/W 13-14 was a pile up of references, ranging from, as Vogue's Jessica Bumpus lists: "it was grunge and it was gothic, Nineties and theatrical, skate culture, LA surfers, fairy princesses and Eighties street kids". I couldn't have summed it up better myself and with no surprise I bloody loved it all. So inventive, so creative, so fucking insane!! 

(So much tie-dye so little time to save up for said tie-dye. Sigh…)

That is until S/S 14 which just confused me. A little bit Versace, if Donatella woke up one morning and decided to 'get down with the kids'. I never thought I'd write hot pants in the same sentence as Rodarte but alas we'll call this their experimental phase.

(Definite elements that I like but on the whole it's a jumble of 80s Kylie Minogue, 'Pretty Woman' street walker garb and what I imagine Vegas sportswear would be)

And that brings us bang up-to-date with their A/W 14 collection. I'll start with the beret - in my opinion, the epitome of chic, coupled with the kooky wide frame glasses, created a real vision of bookish cool. The wider legged trousers offered a real casual sophistication to the ensembles which was only enhanced by the long length vests, and read this, SHOULDER-LESS coats. The idea of a coat without shoulders may baffle some but I find the new shape utterly enthralling. And this is only made more so by the quality street colour palette of these creations. I don't want to ignore the Star Wars prints but like I said before I have no knowledge/interest of the films whatsoever, however after seeing the Mulleavy's dresses I might have to change this! 

   

And that ends my recap of Rodarte delights. I hope you've enjoyed reading as much as I have writing. I can't wait to see what the duo produce next. Adieu!

All photos from Vogue.com