It is rare that a new designer debuting her first ever collection could breathe such fresh air into the lungs of fashion–but it’s possible. My one disclaimer here is that the new designer in question, Rosie Assoulin, is also one of my friends–and to know Rosie is to know these clothes.
I wrote that–“to know Rosie is to know these clothes”–approximately thirteen times before deleting it (you don’t necessarily know Rosie and that makes this pompously esoteric), rewriting it (but there’s a chicken or egg bit manifesting here–to know the clothes, too, is to know Rosie, and now you know the clothes), and ultimately settling on leaving it there.
Why? Because in matters of the clothes, we are all Rosie’s girl–and if she’s evolving, she’s allowing us to evolve with her, which informs our respective relationships in a highly unique way.
This collection maintains the million dollar, majestic ability to let fashion let us assume different identities (you may be lobbying for Hillary Clinton in a red pantsuit tomorrow morning but unleashing your untapped predilection for enormous green bows in the form of evening dress tomorrow night) without forcibly bequeathing us any specific regulations. Rosie Assoulin speaks to a woman who understands fashion from the deepest trenches of her veiled-by-faille guts, who wants to look good without shouting it and perhaps most importantly, who knows who she is–which, mind you, may still be TBD.
And so the clothes certainly don’t try to prove anything because they just want to be what they are–an untrammeled nod to subsisting among the banalities of the day to day in the only thing that makes them liveable: really, really, good garments. Which, before anything, is precisely what these are.
Cotton, twill, silk, even terry cloth permeate this collection. Think about that for a moment–and about how highly functional, useful, even near-impossible to avoid those fabrics can be. But are they, in their previous iterations, chopped into pencil skirts with corresponding crop tops and dramatic, gown length cropped blouses fit for a wedding but perfectly suitable for a summer night’s barbecue? I don’t think so. Rosie makes clothes that transcend the test of fashion and trendiness but maintain that modern boyish allure (see: the recreated white Jncos) and feminine mystique (see: dramatic, off-shoulder sleeves, Betty Friedan) which makes it refreshing to see a new designer get it so quickly.
Rosie Assoulin is clean, irrefutably beautiful and simultaneously distinct. And see, that marriage–beauty and distinction–may be the precise special sauce that differentiates the creativity of someone like, say, Raf Simons or the aforementioned from the rest of us. Did I just take it too far? Frankly, these are precisely the clothes make me feel like it would have been selfish had the designer not shared them with the world…but maybe that’s just me.
Your turn now, camp of critics–I am dying to hear what you think.