This season, at Simone Rocha, things felt a little darker, in no small part due to the show’s setting: London’s Lincoln’s Inn. Shrouded in darkness, models were bathed in pools of light as they moved around the spherical runway, designed to reflect a lake from an old Irish tale. The collection was also based on The Children of Lir, which tells the story of a young girl and her brothers who are transformed into swans by a wicked stepmother and banished to live on a lake for 900 years before returning home to die as humans.
Unlike previous collections, the clothes were stripped back. The classic silhouettes were there but were barely any frills or embellishments. Instead, the embellishments were found in the make-up, with gems, pearls and crystals delicately placed around models’ eyes and scattered around the body.
“I always love the idea that make-up is worn as a fashion accessory and is just an extension of your personality and identity,” says make-up artist, Thomas de Kluyver. “So, this season for Simone I have taken that quite literally. Simone usually has so many embellishments and accessories in her show but this one was more toned down, so we discussed the idea of the make-up actually becoming an accessory itself.” In fact, most of the embellishments de Kluyver used on the face and body are the same as ones featured on jewellery and garments within the collection. As the embellishments are so bold, de Kluyver wanted to keep the skin quite clean and fresh; a touch of moisturiser was used along with foundation and concealer.
“What I loved about this look is it is something that feels very futuristic but also vintage at the same time which I think is something Simone always captures so beautifully.”
Elsewhere, hair stylist Cyndia Harvey created quite concise looks; hair was even poker straight, styled into plaited pigtails or hidden under balaclavas. Meanwhile nail artist, Ama Quashie, echoed this idea of the lake with wet look nails. “To personify the transparency of water we used a clear press on nails to add some length, elongating the nails and finger,” says Quashia. “On the nails themselves we created a water effect using rubberised gel to sculpt the droplets.” To add an extra sense of luminosity, Quashie layered models’ hands with Dr Barbara Sturm’s Glow Drops.