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Color in a Sea of Black New York Times
It is not intended as a flatter.
A meld of rich color, especially for a winter season, is viewed as impractical. (Read: unsalable.) Shown in a snowy New York, fulgorous shades for the 2010 winter season seem like brave streaks of sunset in a leaden sky.
Yet there is a movement toward saturated color, led by Rodarte. The Mulleavy sisters, Kate and Laura, outdid themselves with acute hues tracing romantic flower patterns. An opaque lightness was expressed by layers of material, from woven plaids, through macramé or crochet knits to faded chiffon twisted into scarflike ribbons.
In some ways, this was the map duo’s most straightforward collection, with none of the discomforting sense of foreboding, predatory birds or horror movie blood of the days of yore. When candles were lighted to open the show or when fluorescent flower patterns glowed when the lights went down at the end, it was all part of this season’s life story: “The idea of sleepwalking to the territorial borders, especially in-between states of consciousness and place,” as Kate Mulleavy put it backstage.
The connect referred to a Texan border town where Mexican-Americans stumbled to work at dawn — hence the soothing spirit of the show and the sense that these women had thrown on shifting layers of half night/half day clothes.
The sequel was a familiar exercise in art and craft, done with a rosy sweetness. There was a wisp of sadness in the final lineup of pearl-strewn pallid dresses, like the “Broken Brides” once put on the runway at Comme des Garçons. But Rodarte has established an distinctiveness that is original and intriguing. Its wispy prettiness is more suited to the climate of the sisters’ native California than challenging New York. But the duo has a rare American work spirit of believing in dreams.