(images via ffw)
although i’d really hesitate to classify him with some of the other names we tend to think of when the idea is evoked, i’ve come to see designer rodrigo rosner of the brazilian house of r. rosner as a kind of celebrator of twisted beauty. if that’s not necessarily so much in aesthetic as it is in execution, with his oft evening gown-heavy collections (see s/s 2011, s/s 2012, f/w 2012, s/s 2013, f/w 2013) somehow never really providing a straightforward definition of ‘pretty’, even as they’re, in their own ways, quite enchanting and pretty indeed.
maybe it has more to do with his themes (truly, i’m having some difficulty in defining it, even as i know it to be true), as his s/s 2014 presentation at são paulo fashion week, the excellent brazilian site ffw reported, was centered around the idea of (trans.) “(d)econstructing the myth of romantic love.” they went on to quote the designer as explaining that “(w)e will talk of deconstruction of the myth of love through the figure of the princesses, let’s talk about suffering, sadness, dissatisfaction, unrequited desire – it is a melancholic collection.”
and so it was, with the short array, the site went on to relay, including (again, trans.) “figures from fairy tales such as Cinderella and Snow White, real life princesses and other imaginary [ones]…’I built small fables, or took advantage of those already existing, or got real life stories, and each dress is an inspiration for a princess. Hence this is reflected in an embroidery, a form, or structure, in colour,’ he explained. In look number 4, for example, Rosner imagined ‘a princess in whose birthplace had many moths, and she was bitten by them when she was little, so she ate their own dresses. We worked with this embroidery that is all hollow, as if she was eating the dress.'” god, i love that. don’t you love it?
well. anyway, giving us some straightforward background, gnt noted that (trans.) “Rosner works fine fabrics such as silk, organza, chiffon, tulle and lace in dresses long, short and midi, with embroidery, crystals, feathers and lace…In colours, [the palette included] off-white, light green, beige, red and black,” as elle declared that the designer juxtaposed (trans.) “the delicacy of the princesses to the dark world of villains,” and seemed utterly agog at the level of detail at play here. truly, this was a collection that needed to be seen, but i loved the manner in which the designer kept it pretty, even as he was dreaming up his slightly macabre backstories.
elsewhere, we heard vogue comparing the range to the work of romantic poet lord byron before declaring that (trans.) “(i)n the best moments, [the designer was] creating an effect [that was] eccentric and beautiful, with the glamour of feathers (look at the opening), delicate embroidery (third dress) and lace. As an option to the bulky looks, Rosner included transparent dresses designed with references to lingerie. In the second part of the parade, the ‘evil queen’ series was heavier and less happy…but full of personality – and triumph.”
indeed, not all girls want the happiest of endings, and some of the non-white dresses, such as viviane orth’s blood red heart-embellished number, or isabella melo’s diaphanous black layers, could make a pretty spiffy bridal look for a girl willing to stand out a bit. but! as a final thought, according to closet online (trans.), “(t)he Rosner woman is contemporary, sensual, lush, realistic and independent.” so she is. and if she’s brave enough to wear black–or even the pale shell pink–to her wedding, i applaud her. it’s different, but truly no less lovely. and isn’t that, ultimately, what a wedding is supposed to be all about?
(check out the fashion show video here)