Up until three weeks ago, Christopher John Rogers and his small, industrious team created precisely pleated skirts, dramatically tiered gowns, and crystal-adorned suits, all rendered in bold colors, out of Rogers’s living room in his Bushwick apartment. After creating just three collections, Rogers received the CFDA/Vogue Fashion Fund Award last year. With their newfound resources, Rogers and his team have been able to get a proper studio in Soho, which has allowed them to come closer than ever to fully realizing Rogers’s fantastical vision for his brand. “There’s been more room to really think about what we’re making, whereas in the past there’s been concessions on fit or fabric or even having time to truly research and figure out exactly what I wanted to do,” he said backstage after showing his fall 2020 collection.
Spanning a full 40 looks, Rogers’s first post-CFDA show brought back some familiar silhouettes—there’s the bulbous strawberry shaped waist (Rogers says it’s become one of his best sellers) which reappeared on the runway in violet, and he worked in some past references, like Pierrots, the French cinematic clowns that informed last season’s ruffled necklines. As for new inspirations, Rogers cited trash bags, of all things—he says that a curtain brushing the floor in a Renaissance painting has the same energy as a crumpled garbage bag—and mid-century couturier Alix Barton, also known as Madame Grès, whose later work skewed more graphic and progressive than the goddess-draped gowns that made her famous.
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February 08, 2020 at 02:40PM
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Christopher John Rogers Fall 2020 Ready-to-Wear Fashion Show - Vogue.com
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