Even after covering Rosie Assoulin for many seasons, it’s difficult to pinpoint exactly what her brand is about. That’s not necessarily a criticism, just an observation. Her collections feel like explosions of nonlinear thoughts, the result of a giant free-association session where ideas morph and bleed into one thing after the other rather than a singular concept. The yield is always happy, exuberant and sophisticated clothes laden with thoughtful details. Assoulin’s fabrics are very fine; her finishes flaunt craft and the hand-touch. Yet while the collections reflect intense effort, there’s chaos to them, charming though it is.
Such was the case for fall, where a color-saturated marbling theme acted as the gravitational center of a lineup that also had crushed pleated eveningwear; a darling white ruffled cotton dress with folksy smocking around the waist, cuffs and neck; a pair of moss-green flared micro corduroy pants inspired by Giorgio Morandi still-lifes, and a Sixties go-go champagne gold silk shirtdress with Swarovki crystals in its orbit. That’s just a taste.
Assoulin found the marble theme — used on incredible scarf dresses, a gorgeous reversible quilted velvet puffer jacket, amorphous clay bracelets and jewelry that looked like marbles and jacks — while doing research at a
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