Imagine how lovely a wedding outfitted by Simone Rocha, whose spring show had many things new, a bit of baby blue — and enough frothy garland embellishments to open a specialty bakery.
The show, staged at the English National Ballet, cast a romantic spell, what with all the fresh pink roses trapped under tulle, the crumpled rosettes worked into white shirts with ceremonial sashes, and all the dresses with bell shaped skirts.
She titled the show “The Dress Rehearsal” and installed a white framed structure in the blackened space, adorning it with angels trumpeting.
“The installation was my interpretation of the Little Ark of Kilbaha,” she said, referring to a mobile church in 19th-century Ireland where people could congregate on the beach when the tide went out.
The collection pinged between dry, papery fabrics — including frosted nylon for balloon-sleeved windbreakers — and lustrous duchess satin, which Rocha gathered like curtains to create austere dresses with folds around the throat.
Crystal-studded socks and jet-beaded hair bows with long streamers added to Rocha’s brand of dreamy, homespun femininity.
The menswear seemed ideal for modern-day, streetwise-savvy Rimbauds, their black parkas slickened with glossy garlands; their camp shirts festooned with “cotton icing,” to use Rocha’s delicious term.
Let them wear cake.