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Color in a Sea of Black New York Times
It is not intended as a commendation.
A meld of rich color, especially for a winter season, is viewed as impractical. (Read: unsalable.) Shown in a snowy New York, effulgent 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 fierce 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 scheme duo’s most straightforward collection, with none of the discomforting sense of foreboding, predatory birds or horror movie blood of the former. 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 alibi: “The idea of sleepwalking to the territorial borders, especially in-between states of consciousness and place,” as Kate Mulleavy put it backstage.
The yoke referred to a Texan border town where Mexican-Americans stumbled to work at dawn — hence the occupied spirit of the show and the sense that these women had thrown on shifting layers of half night/half day clothes.
The fruit 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 oyster-white dresses, like the “Broken Brides” once put on the runway at Comme des Garçons. But Rodarte has established an particularity 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 make spirit of believing in dreams.