September 06, 2013 New York
With that in mind, it's ironic that the collection was based around the idea of calm—a notion that grew out of a trip to Mexico last winter (one could see glimmers of the Gulf in iridescent, double-sided sequins that shimmered across a mid-length skirt, and down panels of boxy tops, jackets, and sheaths). Rodebjer's second point of reference was Eileen Gray—an architect and modernist pioneer who inspired Spring's essence, and its prints. "We made the prints ourselves, and wanted to combine nature and graphic elements," explained Rodebjer backstage. The first pieces she designed, however, were some basic rubber-soled sandals, born out of a desire to create "comfortable, free movement." A series of metallic shoes with high wooden heels also seemed to make for manageable walking—and they looked slick with Rodebjer's quilted leather clutches, which were accented with patches of print.
The concept of comfort spilled over into the silhouettes too. There were kimono shapes, fluttering floor-length blouses, pajama-style ensembles in black and white stripes or blue paisley prints, and easy, short-sleeve dresses that offered room to breathe. Even the comparatively complex looks—like linen-backed skirts and frocks with waves of laser-cut chiffon—had an air of effortlessness. (In fact, they were anything but easy to produce: "It's very complicated and super-expensive. I tend to pick those impossible fabrics," laughed the designer.) No doubt Rodebjer's new wares will catch the eye of city girls, who could wear them to brunch on Bleecker Street, or while unwinding in some beachy paradise.