5 minute read
Meryl Rogge
M E R Y L R O G G E
C H A M P A G N E P R O B L E M S
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A sparkling champagne tower decorates a central dais. Long banquet tables, surrounded by gilded chairs, are laid with a feast of steaks. Laughter and clinking glasses fill the room while beautiful models mingle in a relaxed and jovial atmosphere.
Off to the side, dozens if not hundreds of partially empty wine glasses are strewn haphazardly on the floor. The baroque fireplace is filled with glasses itself, as if the evening’s excesses exceeded its venue’s capacity. A striking model in a black cape, hood pulled tightly over his head and champagne bottle in hand, moves around the room like a zombie, eyes dead and unblinking. All in all, the scene is a perfect fantasy of a party: the good, the bad, the chaotic… and something that many of us doubtless dreamed of during months of isolation.
I am not describing a cocktail event in a grand 8th arrondissement townhouse or the exposition of an addictive new Netflix mystery. Rather it was the scene for Meryl Rogge’s Autumn/Winter 2022 presentation, her Paris Fashion Week debut and first major post-Covid event. The Belgian designer titled her collection “Poor Connection” and made her show a celebration of re-connection. By staging a party, with all of the debauchery and camaraderie that the term represents, she reflected the general sentiment of those attending the first proper Paris Fashion Week in over two years. The fashion world exhaled this season, thrilled to be back to normal routines. Rogge’s convivial gathering, in which models casually presented this season’s garments in an improvised mise-en-scene rather than formal show, perfectly expressed this collective sigh of relief.
It also perfectly reflected the ethos of the collection. Note that I did not use the word “inspiration, ” for what defined Rogge’s Autumn/Winter 2022 looks was an intentional lack of “inspiration. “Inspiration” is a buzzword, a powerful marketing tool. Too often in the fashion industry there is pressure to formulaically summarize an entire collection, inevitably a multi-faceted product of a variety of influences and experiences, as having emerged from a singular idea. Designers nor PR agencies nor journalists are immune to the pressure. Speaking from my own experience as a writer, I feel the temptation, if not expectation, to attribute collections to specific influences in inevitably reductive twoword article titles or two-sentence introductions.
" W O O D F L O O R S I N Y O U R S O H O A P A R T M E N T . E V E R Y M O R N I N G A L W A Y S R O L L O N E A N D S P A R K I T .
“The important thing is to make clothing that appeals to people rather than really focusing on ‘proper’ inspiration, ” she told the Federation de la Haute Couture de la Mode in an interview. “Literal reference pulling like ‘this season we looked at this art and this is our connection’ is not something we do. It’s more about portraying an [abstract] image that suits the brand. ” My conversation with Rogge at the event further conveyed this idea. Her brand eschews pretensions and philosophizing; she aims to design “clothes that people like to wear” based on whatever influences attract her team at the current moment. (At this moment, she stated, such influences included Cindy Sherman, vintage fashion, and “things found on Etsy”).
The result was a massive collection juxtaposing a wide variety of colors, patterns, and materials. Perhaps the best adjective to describe it would be “comfortable”; there is a certain practicality to even the most imaginative garments, and, whether a distressed woolen sweater or ruffled Victorianstyle shirt, all was relatively loose-fitting. The collection never sought to shock but contained several pleasant surprises; I was particularly enamored by an oversized graphic tee paired with sparkling heels and a partially transparent lacy skirt. Also notable were tromp d’oeil skirts deceptively masquerading as red cordouroys and navy jeans. For those who prefer more classic styles, there was a beautifully cut black overcoat and a series of cozy yet elegant wool tops. Men’s wear was not overlooked; the same geometric patterns that adorned some of the women’s jackets and dresses appeared on colorful button-ups paired with khakis.
Meryl Rogge designed one of the most versatile and wearable collections of this year’s Fashion Week. Given her expansive stylistic oeuvre, there are many directions she could proceed from here. But whatever path she takes, I hope she never finds a (capital-I) “inspiration. ” By not following a specific personal aesthetic, nor a formula, she consistently creates eclectic and vibrant clothes that have both strong personality and broad appeal. They are made for the sort of diverse, vivacious, and intellectual people you would want at your dinner party…hopefully, one with a champagne tower!
" F R O M H I G H S O C I E T Y B U T T H E Y F R O W N O N H E R A C T I O N S "
(Note: All captions are from G-Eazy's "Downtown Love." They are not associated with the collection and have been paired with the photos as the editor's own commentary).
