At 37, Irish fashion designer Simone Rocha is one of the great success stories of her generation.
PARIS — So much thinking has been done about the long piece of ribbon tied into a knot that we call the bow.
Rocha’s collections are naughty and desirable — a puff of fur on the butt, a clutch of roses heaving at the bodice. You can almost smell the Simone Rocha girl coming — romantic and strange, rosy but musky — and you better not be in her way. “She makes a world inside of a world that plays with form, order and chaos,” they wrote in an email. “It sings to a lil time outside of time, very on its own pace, rhythm and lore.”
The Gaultier couture show, which Rocha called “The Procession,” was a twisted expression of what it means to look feminine. Gaultier’s famous cone bras became rose thorns; panniers became insectlike skeletons; corset lacings looked like exuberant athletic uniforms, or were left undone in a saucy gesture of liberation. Many designers these days fail to account for the mutability of clothes — that one designer’s carefree cropped pant is another’s sinister nod to 1950s conformity.
Rocha’s father, John Rocha, is a designer who ran his own highly successful fashion label for three decades before retiring a decade ago. She calls herself “a fashion nepo baby,” laughing. Her parents helped her immensely with building her business, she emphasizes, and her mother, Odette Rocha, oversees her retailing. “We’re so proud of her,” Odette, who also wears her hair piled in a high black swirl, says. “She loves to work.
“I feel like, honestly, it doesn’t matter if you’re a man or a woman. I think it matters if you’re a good designer. And have conviction and identity.”
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