21 September 2026 |
The designer looks to Caravaggio and finds beauty in unexpected places.
Ireland is a never ending source of inspiration for SImone Rocha, who is of Irish and Chinese descent. Season after season she takes a piece of culture, be it art or literature, and folds it into her expansive universe making the connections feel natural and effortless. And for spring 2027, Rocha did it again. This time the launching point was a Caravaggio painting, “The Taking of Christ”, which was famously “found” in Dublin hanging in a dining room before being relocated to the National Gallery of Ireland. The idea of finding beauty in unexpected spaces spun into the concept of what the designer described as individual, intimate designs that have been touched and loved by women shaped by their lives.
Set at Old Bailey, a criminal court completed in 1785, the monumental space is filled with multicolor marble, stained glass windows, and murals lending a sense of sacredness. If this was a church, the room was indeed filled with Simone worshippers, clad in the brand and excited to see what she has to offer. And from the first look, a navy technical jacket covered in black embellishment and worn over a feathery tulle skirt, it’s clear that what is holy to Rocha is a love for women, in all of her iterations. And that deep adoration grows more evident as the show unfolded — looks were for the female gaze only, even when it was sexy and sheer like a glittering black dress with red underwear peeking through.
And speaking of lingerie, there were those influences throughout. Sometimes it was glam, in the case of a long pink slip dress, designed to appear as if the straps and top had fallen down, and worn with a feather boa. Other moments saw negligees layered under knits that were twisted, as if the wearer had clutched it for comfort over the years, leaving the fabric permanently knotted. That same gesture was seen throughout, as models clutched chore jackets, bombers, and rosette trimmed blazers. Outerwear also included a rosette trimmed leather trench that dipped down the chest, a sensuous and very appealing piece.
Rocha references herself, drawing a throughline from past collections. Case in point: the sheer roses stuffed into dresses from spring 2024 made a comeback, this time tucked into a pair of sheer shorts. Caravaggio blue velvet dresses not only were a nod to the painting but also reminiscent of prior styles in a similar hue. And of course, her perspex bags made an appearance, with the latest shape being a seashell.
Perhaps the most interesting and visually striking were the hooded looks that made the women almost egg shaped. Adorned with yet again more rosettes, these models felt like they were plucked from paintings by the Old Masters, creating little works of art that reinforced yet again why Rocha continues to be a London fashion week highlight.
