He proved himself incredibly versatile as a designer.
Cathy Horyn on trends, designers, and more.called his latest collection “To Have and to Hold, a Happy Cry.” Did he mean a good cry, the kind that feels like an exorcism in your pillow? Or did he mean the kind that feels like an exultation, a battle cry?Methinks he meant a bit of both, given the ambiguities that tenderly laced through his beguiling show at the Brooklyn Navy Yard on Saturday night.
Rogers acknowledged before the show that the designs were tinged with a melancholia that people might not expect from him. Frankly, I didn’t see it. Instead, I saw a designer expand his selection of materials to include those with a hard-to-identify, almost industrial edge. He then modestly applied the same dressmaking details to those strange fabrics as he would any other.
This was a collection loaded with textures, from the brushed, slightly hairy wool of a pair of coats inyellow and blue to the ultrasoft, custom-printed jersey of a high-neck, bias-cut long dress to the chenille of a 1970s-style ribbed sweater. His use of color — in bold, graphic blocks, as with the deep royal-blue wool coat over a print — was also impressive.But, in general, Rogers’s work has developed a lot since his first collections in 2018 and 2019, when he was often touted as showman.
He’s showing us his incredible versatility as a designer. If the folks at LVMH and Kering don’t already have Rogers on their radar, then it’s high time they did.
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