The designer’s muse Millicent Rogers (1902-1953) – fashion icon and symbol of elegance – heavily influenced the collection. Rogers was a socialite and supporter of Southwestern-style art and jewellery frequently featuring in Vogue and Harper’s Bazaar. Despite a glamorous life in the public eye, she was a romantic at heart and had three marriages. Rogers lived as well as she dressed, travelled the world and enjoyed luxury. Eventually, she decided to seclude herself in the high desert of Taos, New Mexico with her last husband Ronald Balcom. Surrounded by colonial artwork she witnessed her New York high society uniform transforming into an authentic Navajo blouse, a long full skirt and bare feet.
The collection aims to elevate lifestyle aspects. Each outfit is unique and has an identity different to the next, original and contradictory at the same time in the manner of Roger’s elegance becoming folkloristic.
According Luigi Pirandello (1934), Italian Nobel Prize winning novelist and poet, all human beings wear a mask which hides their identity, and in that sense our way of dressing has the ability to reflect or mask our personality. Each creation was conceived during a design stint to Marrakesh, which has influenced a number of design choices and led to the use of several traditional materials, breathing life into the collection. The traditional djellaba is translated into a contemporary tunic-cape made of knitted wool and silk, reflecting the custom of protecting a woman’s identity. Another example of the melange of epochal contrast is a contemporary padded jacket blended with corset shapes made of satin silk. A full colour spectrum flows through the collection in all shades of rose flowers, symbolizing celestial perfection and earthly passion, time and eternity, life and death, completeness and the profoundness of the mystery of life.