Rosie Assoulin took her collection outdoors this season, staging her presentation in the drained outdoor swimming pool of the Tony Dapolito Recreation Center. A Keith Haring mural, painted almost 30 years ago for the then Carmine Street Pool, served as a convenient backdrop.
Assoulin continued to hone her signature celebration of feminine statement dressing but with a left-field hint of nineties hip hop culture. There were implied boxer waistbands peeking out of oversized military trousers, linen overalls, work shirts casually tied around the hips and enough bra tops to make Aaliyah proud.
Assoulin wove in a bit of the seventies as well. A halter top was crocheted in Chevron stripes and shown with a matching mini bucket bag. Bell-bottoms came slim with peek-a-boo knees, bright orange with white contrasting stitching, or oversized and billowing to the point of possibly being mistaken for a ball skirt. And don’t forget the pair of pajamas bedazzled and reminiscent of the illuminated dance floor in Saturday Night Fever.
The evening wear, for which the brand is known, was colorful and fun. In the context of this balmy September show day with a noontime sun overhead, the gowns felt anything but inaccessible, which gala dressing has the tendency to do. One could imagine the hot pink single sleeve gown or the tangerine column dress with ruched ruffle back cruising down a red carpet on fashion darlings like Lupita Nyong’o or Emma Stone.
In almost stark contrast to all the statement making, the knits, in their subtlety, stood out. A slim red sweater dress and camel crew neck featured erogenous cutouts exploring the theme of negative space rather than the brand’s default, volume. Based on the number of editors hovering around these pieces to nab pictures for Periscope, Snapchat and Instagram, these will be the statement of choice come spring.
– Rachael Wang