Theo knew better

It was like if a golden breeze soothed the Mulleavy's dreamy desires, as it was for all of us who were delighted once again by the eternal romanticism and melancholic scenery of the Spring Summer 2012 collection by Rodarte.

Between parades that included dancing flowers, ochre personages, and violet sequined and forgotten prom queens; the tales that once made us fall into smiles and exhausting passionate feelings crept as multicoloured Van Gogh nauges into our own encyclopedic curiosities. Yes, the Rodarte sisters definitely like to work with the sublime and certainly do know all the references to make a remarkable melange of both the obvious and the symbolic to reproduce and new reality which is not childhood itself anymore, nor corny 60's prom pictures and chaperons, and finally, not even the fragments that our dearest Vincent once wrote to his beloved brother. This time it was all about a different kind of honest beauty and an unusual kind of loving.

That very instant, this Rodarte collection confirms the power of memory, encompassing all that may surround many individual's minds, but might not enter in them as the format in which Rodarte present their proposal and their message is undecipherable for most. This small detail ladies and gentleman is the paradox of fashion, the power to be raw and pure, but at the same time illegible because of all social boundaries and fears that torment us.

Back with our main topic, the other day I was watching a documentary about Van Gogh's letters to his brother Theo, and I was so moved by all the passion in every detail that Vincent got to achieve and express through his work, noticing how steady his "reality" was but realizing how turbulent were his mind and soul. A few days before that, I watched an interview with the Mullleavy sisters on their spring 2012 collection. They talked about the reasons why they chose Van Gogh as their backbone for this collection, and they emphasized on the comparisons they went through in the concept-development phase for the show. Like the contrast and relationship of classic Disney film's colours with Van Gogh's paintings, as well as the fine garments in such movies as Cinderella or Sleeping Beauty with the cut of 60's prom dresses. Overall, all of those relationships made me think about how just incredibly thankful I feel for the first stroke Van Gogh made, to the last sequin in those beautiful evening gowns that Rodarte offered us for the next warm weathers and starry nights. I am thankful for everything that is inspiring, and every little idea behind this collection was for me endlessly inspiring and touching. Everything went truly beyond any expectations, and the ironic thing about it all is that there weren't any.

Let us be caught by the sunflowers which the sun has dried for us intimately. 

All runway photos: vogue.it