Simone Rocha made a sparkling and spectacular haute couture spring summer 2024 debut in Paris on Wednesday at the headquarters of Jean Paul Gaultier.
The first Irish female designer to do so, and the sixth guest of the celebrated French fashion icon with access to the house’s skilled artisans and 50-year archive, Rocha’s own artistry and stellar new takes on Gautier’s familiar motifs, particularly the famous conical bras and corsetry, were rapturously received.
Her proud father John Rocha, sitting in the front row with his wife Odette and photographer Perry Ogden, recalled with nostalgia his own debut in Paris 30 years ago as an array of celebrities (including Kylie Jenner and Jordyn Woods), guests and photographers took their seats in the magnificent galleried ballroom, some providing a fascinating catwalk show themselves.
The 72-year-old enfant terrible of French fashion, who retired two years ago, now gives selected designers free rein to reinterpret his work at haute couture level, considered the ultimate expression of craftsmanship in fashion.
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Despite a 30-year age difference, Rocha and Gaultier share a similar subversive but playful sensibility in their work, which has always challenged conventional notions of masculinity and femininity.
What stood out in this impressive 36-piece collection were the shapely dramatic silhouettes, the lavish decor, the gorgeous fabrics and the accessories. Not to speak of a modern reimagining of the cone bra, sometimes upturned in satin or jewelled with red crystal.
One of the first ensembles that set the tone of the whole collection, marrying signature items from both designers, was a pink silk satin patchwork corset dress with a frothy tulle derrière worn with platform mules and embroidered earrings.
Each item was outstanding in its own way and crafted to perfection. A dramatic crinoline skirted gown was embroidered with fluttering red poms, a long navy trench gown opened at the back over a corset, charcoal suits embellished with red crystals had ruffled miniskirts or shorts, and a white shirt dress with crystal daisy embroidery looked delicately beautiful and demure. There was lavish use of peachy silk and satin ribbons – one dress used more than 100 metres.
In a nod to Rocha’s Irish heritage and love of handwork, a stiff strapless dress featured silvered antique Irish crochet lace while another was fashioned in ivory patchworked doily crochet. Shoes, always a Rocha signature, included Cinderella-style clear Plexiglas mules decorated with pearls or white feathers as well as black and brown leather gillie brogues.
Her finale, a dreamy wedding gown in white patchworked Chantilly lace with a tulle tutu, was accessorised with pearled mules and a long white silk veil.
The seven-storey Belle Époque building in the Marais where the presentation took place, once known as the Proletariat Palace, housed a ribbon factory, boxing hall and nightclub.
“I think anyone would be lying if they didn’t say their dream show was in Paris,” Rocha said in an interview beforehand.
That dream was certainly fulfilled and the power, emotion and sensuous beauty brought to this collection mark a new high point in the Irish designer’s career.
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