New age. Rodarte SS22

This wasn’t a regular Rodarte collection. Kate and Laura Mulleavy left behind romantic ruffles and horror vacui ornaments, and resorted towards something lighter, even ethereal. Over the past 18 months, the Rodarte sisters have made a promise to meet their woman where she is. Their spring-summer 2022 collection was a proper declaration of re-emergence, of spiritual glitz, and of reconnecting to nature. From the first white dress with trailing black triangles at the sleeve to the last mushroom printed bubble dress, this was a collection meant for movement. Gusts flared out their hems, made their beaded fringe dance, and blew up their circular bubble dresses to spectacular effect. The Rodarte woman, once a wallflower, was now in the height of her natural power. And then, with the speakers crackling under a vibrato of aaaaahhhhhs, came a sunset of draped dresses and barefoot models. Was it a sun salutation, an homage to cacti, or a cult offering? In the minds of the Mulleavy sisters it was gestural, turning their models into a painter’s palette to celebrate the raw beauty of the earth. It’s a personal message for them: their mother is an artist, and their father is a botanist specializing in fungi. That blossoming mushroom finale dress was hand drawn by their mother and, in a way, about their father. So much ink has been spilled about the dynamic between Kate and Laura, but their mighty artistry was clearly cultivated and nurtured by their parents. The apple doesn’t fall far from the tree; and the Rodarte woman will feel comforted and extra glam in the family’s beautiful new collection.

Collage by Edward Kanarecki.

Total Magic. Rodarte AW21

The autumn-winter 2021 collection by Rodarte, with a look-book photographed on a breezy beach, has a magical, witchy aura about it with a 1990s style twist. And it also feautures Alicia Silverstone, the actress behind Cher Horowitz’s wholesome persona, sun-kissed and smiling, alongside Aurora James, Heather Kemesky, and other models. The campy, kitschy teen world of Amy Heckerling’s 1995 classic might seem miles away from the broody gothicism often associated with Rodarte, but Kate and Laura Mulleavy grew up on Clueless. They saw it in theaters in their native California – and then rented it “hundreds” of times from their local video store. However, he plaid suits and slip dresses Cher wears in the film aren’t recut one-to-one in the Mulleavys’ interpretation. Theirs has always been a more abstract aesthetic. This season, they started with a bias-cut halter midi-dress in cartoon hibiscus prints or vixen sequins held up with a ribbon bow at the neck. They learned last season that waft-y, comfortable dresses do well and extrapolated on them with V-neck dresses and flutter-sleeve maxis in a mix of vintage-store pastel florals and grungy black. For going out, they built up their sequined offering, and for staying in they translated their floral prints into stretch dresses, tops, and pants. There’s also a big varsity jacket, an evolution of their popular souvenir style, worn by models of all genders. One of the crucial lessons of Clueless is that the right outfit can change your stature, your mood, even your life. The Mulleavys understand this, and they imbue that cinematic sense of dressing up for who you aspire to be into their collections. They’re famous for their extraordinary red carpet dresses, but the Mulleavys do make clothing for people’s actual, beautiful, and mundane lives. “We are thinking about how people want to wear things,” Laura says. It’s definitely good to see the designers come back with a optymistic collection after the tumultuous year of lockdowns and crisis.

“Live” collage by Edward Kanarecki.

Dracula. Rodarte AW20

Bram Stoker’s 1897 novel „Dracula” inspired Francis Ford Coppola’s cult 1992 adaptation of the book, starring Winona Ryderand Keanu Reeves and featuring costumes by the legendary Eiko Ishioka. Kate and Laura Mulleavy’s autumn-winter 2020 Rodarte collection riffed on Coppola’s movie (and Ishioka’s costumes), but the result wasn’t a literal, gothic line-up. The location of the show – the dimly lit St. Bartholomew’s church in New York’s Midtown – provided a mysterious stage as the Mulleavys sent their army of ethereally chic undead out. The first part of the collection was about the pretty prey of Dracula: think cheerful polka dot day dresses, all over-sequined looks, draped blouses and pouf sleeves which all elaborated on 1940s-inspired silhouettes. Suddenly, the collection doubled down on the sweetness. Things got seriously dark – a sparkly midnight blue hooded cape, black fringes that looked like the tendrils of witches’ hair, cobweb embellishments, blood red. It was about witnessing the transformation of prey into predator, which was exactly the point. The show’s closer: a dreamy gown with big shoulders, blue flowers and a floor-sweeping, liquid-like veil. The vampire’s bride? Or the queen of the immortals? Designers seem to avoid scenarios for their collections – the fear of falling into the cliché trap – but at Rodarte, story-telling always works well.

Collage by Edward Kanarecki.

Lady-Like & Cartoonish. Rodarte SS20

So here we go again – the official (I emphasize ‘official’, as we’ve already seen Jacquemus in Provance and Vetements in McDonald’s two months ago as the aperitif of the season) fashion month triathlon is upon us! Lets start with Rodarte, which is a brand that navigates between Los Angeles and New York. Kate and Laura Mulleavy took a tactic they tried out for the first time a few seasons ago. No fashion show, but a look-book feauturing women they love and are friends with. This season’s bold, 80s-heavy sequins, ruffles and polka-dots are worn by the always amazing Kristen Dunst (I hope you’re watching On Becoming a God in Central Florida that’s airing now), Yalitza Aparicio, the sisters from Haim band, Margaret Qualley, Rowan Blanchard, Kiernan Shipka and basically all the girls Rodarte dresses for different occasions. All these women have a certain spark that feels so close to Rodarte and its dreamy womanhood concept behind. But put the look-book’s cast apart, there’s nothing ground-breaking about the collection – it’s a signature Rodarte line-up filled with couture-ish gowns. This time, though, the aesthetic feels more like Fragonard’s The Swing remixed with Slim Aarons’ photographs of rich, suburbian families having their garden parties. Lady-like combined with cartoonish. No other brand would pull this off without looking ridiculous.

Collage by Edward Kanarecki.

Femininities. Rodarte AW18

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When actors, musicians and celebrities appear in fashion, the result often results in lots of buzz and fuss. But for Kate and Laura Mulleavy, the autumn-winter 2018 Rodarte look-book is about “portraits of friends”. By “friends”, they mean their long-time muse and collaborator, Kirsten Dunst (she plays the main role in the sister’s debutant film, Woodshock –  worth watching) who poses in a red, floral gown, pregnant. She looks so blossoming. But it’s not only Dunst! There’s Grimes, whose ethereal, out-of-this-world music matches Rodarte vibes and that couture-ish Edwardiana frock; Chloe and Halle, the R&B duo, who twirl cherry-blossom umbrellas; Kim Gordon in a sharp leopard print-ensemble; Rowan Blanchard, actress/activist in a cute varsity jacket; Gia Coppola wearing a chic, faux-fur look; Miranda July, wearing a silk chiffon dotted dress; and others. Mulleavy sisters pursuit the idea of womanhood in their work for years, and this season they embrace that with double power. Choosing those women (who inspire them and represent different femininities) to model their clothes is the best possible choice the designers could make. I’m really, really in love.

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Collage by Edward Kanarecki.