Rodart Fall Collection began with a single color. “All this began with the brown color of the lavender pigeon that we wanted to work with, and he basically told the story of something that felt Gothic and Moody,” said Laura Maulvi. “When you think of these gothic stories, you see a moonlight color palette, and I think we were thinking about seeing the colors through the moonlight.” The light shadow of gray had given birth to the moon on a truly gentle mutton sleeve, and on a accumulated chiffon, the moon, whose trapped ham was slowly revolving around the model like a cloud. The palette is mid -night’s Crimson Red, another worldly mint green, and black -black – velvet.
The clothing lineup was subjected to romance and playful sisters of Maulvi sisters – even more simplicity than recent collections. This does not mean that the designers are away from the ornaments, but rather that their happiness shines completely from the inside, contrary to being blind with the Recilled Chag. The white lace made decorative bodies and delicately carved necklaces and collar that sometimes referred to a monastic feeling. A simple slip was adorned with a direct opponent of the dress, and another straplis column was made of sequel Croatchite. “Choosing the material really fun to choose, as if they had created the structure (and light) within themselves,” Laura said. “Most clothes are not shiny, so it was thought that if you had a window and you were staring at someone and your only light is the moon.”
Kate added, “For us, it has always been so personal. What we have presented is what affects us at that moment.” “I always felt emotional with the person who was choosing something of us – I always think, when you can find anything in the world, why are you choosing this one dress?” The last gown, with its lace Victorian body, princess sleeves, and white -colored black flower robe fabric, as if it looked as if it could shine in the dark.
