In a scene from September Issuethe documentary film that R. J. Cutler addressed the preparation of most anticipated number fashion American, Grace Coddington —the mythical creative director— lamented the growing absence of beauty in the world of fashion. Beauty, of course, does not disappear, but the canon is changing, so What Grace lamented was the loss of the aesthetic parameters that were beautiful to her.which were none other than those that always evoked –and still evoke– his productions: hyper-feminine and decadent romanticism, bucolic ingenuity, baroque, a certain poetic filter on everyday life.
In that same documentary, Anna Wintour insists that fashion does not look to the past but to the future, ergo it is absurd to feed nostalgia. But nostalgia can also be a kind of demand; a sign of exhaustion of trends that ends up creating new presents. September Issue It was recorded fifteen years ago. Today, post-apocalyptic language has prevailed and the garbage bags of Demna Gvasalia and reflective glasses kanye flood the network. Although it does not seem that the supremacy of these codes is going to evaporate —for the record, I do not criticize them, I like them—, there are still pockets of the perspective that Grace was talking about; the one in which girls comb each other’s hair and dance in the backyard, free from any shadow of menace. It’s not the only brand to do it, but no one has kept that fantasy alive like Roll you.
When Laura Y Kate mulleavy they presented their first capsule collectionback in 2005, attributed to his dadwho is a mycologist, a great influence: their designs were inspired by mushrooms. His maternal ascendancy was also notorious: the name, Rodarte, is derived from his family’s surname. Imbued with the spirit internalized during their childhood walks through the woods near their home, the sisters offered a proposal full of intimate references. They claimed, however, not to conceive pieces thinking about what they would wear, but in imagined scenarios that, over time, took shape out of their heads. Through clothing, but also through the relationships they began to establish, the Rodarte universe went beyond the limits of the dreamlike to become real.
sophia coppola Y Kirsten Dunstfriends of the Mulleavys and friends of each other, frequent professional collaborators and both aesthetically aligned with the brand, were the original Rodarte Girlsnothing unusual considering the energy it radiates The Virgin Suicides. then they came she Y Dakota Fanning, Tavi Gevinson, Maggie Gyllenhaall… A long row of girls with whom the company established a special bond. Proust he described the group of young women whom he observed on Balbec beach as a “vague and white constellation –…– indistinct and milky nebula”; if to that base we added the substance that makes up the walls full of posters in the room of a nineties teenager, we would produce the Rodartian model of a woman –beautiful and intellectual, delicate in its strength, somewhat rebellious, Californian on her way to her prom *night*–.