Stine Goya put her green thumb to use in her blooming resort offering. “This collection is about the rose, but not the rose as a decoration,” she stressed over Zoom. “We wanted to try and understand what happens when you look at something very familiar until it reveals something entirely new.”
Goya isn’t breaking new ground by using roses to express unabashed romanticism, but it’s clear the designer is definitely back in her groove. This tightly edited collection is focused on existing brand markers, including proprietary patterns and a girl-meets-boy vibe that was communicated through feminized bombers (one with a luxurious plaid lining) and jewel-toned checks, which balanced sweeter touches, such as floral embroidery on one back pocket of a pair of washed jeans.
A rose-red fabric was cut into a scoop-necked dress with pleats under the bust; the fit can be customized using delicate bow ties. For resort, the popular Goya peplum top was cut asymmetrically and with one-shoulder-on, one-shoulder-off straps in a colorful rose-strewn jacquard, and paired with matching cigarette pants. A falling flowers print in makeup colors was used on a party dress with a vaguely ’50s silhouette; a more mod option was a heavy black satin T-shirt dress featuring a single, over-beaded rose—which had the added appeal of eliminating the need for a bachelor. (Cue Miley Cyrus’s “Flowers.”)
The most interesting take on the theme was the least narrative—it was the way Goya manipulated the fabric on the lapel of a tailored black suit jacket into a 3D rose. In the past, the designer might have used metallic hardware to add interest to tailoring, which tended to feel cold and impersonal. This softer take emphasizes the sensory aspects of material and reveals the reassuring presence of the hand.
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