In a finely orchestrated dance between desire and mortality, Simone Rocha’s hauntingly captivating collection navigated the delicate balance of longing for what remains elusive while avoiding the powerful forces we’d rather not confront. This particular show marked the culmination of a three-part cycle. The previous London collection, aptly named ‘The Dress Rehearsal,’ emerged alongside her couture collaboration with Jean Paul Gaultier, subtly weaving roses into the garments. Following that acclaimed Paris centerpiece, ‘The Procession,’ which symbolized their creative union, this finale was fittingly titled ‘The Wake.’ It signaled the end of an era.

Our gathering took place within the ancient walls of St. Bartholomew’s Church, a venue steeped in history and perhaps inhabited by lingering spirits. Notably, we had previously witnessed the spring 2022 collection here. Rocha’s exploration of Gaultier’s archive—stored in boxes humorously referred to as ‘coffins’—led her to Queen Victoria’s mourning attire at the British royal archive in Hampton Court Palace. Victoria, mourning her husband Prince Albert’s death in 1861, famously wore black daily until her own passing 40 years later. Rocha reflected on this juxtaposition: while examining pieces focused on bodily security and mourning in Hampton Court, she also delved into Gaultier’s provocative creations within those same ‘coffins.’ The common thread? Boning-a structural element that bound these disparate worlds together. 

Corsetry played a central role in this third collection. The delicate framework of corsets enveloped the abdomen, subtly integrated into tie-detail nylon parkas and rompers. These contours also shaped the darting in sheer jackets, artfully positioned just above pantaloons. Among the diverse womenswear looks, Simone Rocha ingeniously elevated the models’ breasts by placing them on twin metal-beaded podiums, evocative of lips. Rocha herself acknowledged the intriguing tension between adornment and containment that these organza corsets evoked.

To balance this provocative emphasis, faux-fur hip embellishments adorned the models. These furry accents graced the shoes, earpieces, and hems of translucent trapeze dresses layered over billowing pantaloons. Additionally, furry buckles swung from the back of sheer pencil skirts. In the realm of menswear, attention shifted to the shoulders. Twin shooting patches, crafted from faux fur or glass beading, extended from scapula to pectorals.

Rocha’s congregation of designs included more characters beyond corsetry. Polo shirts and closed-forearm fine-knits seamlessly transitioned into tulle ensembles or further corsetry, occasionally adorned with metallic flowers. The models strutted in eyeleted, strapped thick-soled oxfords or boldly styled Crocs, some resembling short gumboots. Notably, a long black dress, composed of fine jersey sections, featured gleaming eyelet details. Meanwhile, a red lurex-shot knit pencil skirt paired harmoniously with a matching knit hoodie, embellished with additional beading around the ears.