Chronicles of a Pseudo Stylist

Fashion and Style combined with Polyvore sets

Digital Coverage of Pre-Fall 2015: Pamella Roland

Last Monday, which was the 8th, acclaimed evening wear designer Pamella Roland showcased her latest collection for Pre-Fall 2o15. Upon first glance, I loved the collection, primarily because it was a departure from the dismal Spring/Summer 2015 fashion weeks, but also because it was the anthesis of minimalism. I’m hoping this is a sign for what we may see make its way down the runways when the Fall/Winter 2015-16 Fashion Week starts, for if it is, I’m definitely looking forward to the upcoming season. For until then, I’m going to wait with bated breath that what I just predicted will come true once February 2015 rolls around.

A collection that was rife in variety of both silhouettes and colors, I imagine the models had come out one by one in a delicious mélange of jeweled candy colors, sequins, and beads. Well, this image was surely one that danced in my head at first glance of the collection. It turns out she spent a year in Paris, which, as noted by Lauren Sherman, “served as what felt like tangential inspiration for Roland.” When I first learned about that, I began to picture this very same mélange, only this time in Paris (preferably the Hôtel Crillon) in a stunningly luxurious short film directed and produced by Sofia Coppola. Coppola, whose 2006 film “Marie-Antoinette” left an indelible impression on me and cultivated my love of Franco-Parisian luxury, would’ve been perfect for this imagined short film for Ms. Roland’s Pre-Fall collection.

Models came out wearing black, royal blue, royal purple, champagne, berry, navy blue, red, and fuchsia. Looks featured the usage of fur, sheer fabrics, lace, leather, satin, sequins, beading, neoprene applique, and hand painted French Lace. All of which manages to come together for an evening wear collection that’s fit for even royalty! Regal evening gowns were the stars of the show, a majority of which were slinky and floor length. The hand painted French lace I mentioned was used for a sleeveless jumpsuit with wide legs and a plunging v-neckline.

Sheer fabrics assisted in completing or bringing together a dress, primarily through paneling, while in another look it gave a party dress that certain joie de vivre that was further emphasized through judicious use of sequins. The sheer fabrics in that party dress served to be a trompe l’oeil effect for the top half of the dress. Fur was seen in the looks, however, only two looks consisted of fur. Those two looks with fur consisted of coats, one of which was a trench coat in a ombre dyed technique, while the other was a cropped coat. Sheer fabrics were used in a slinky, sleeveless evening gown, only it was pieced together with the fabric used in making that dress and it was only the bodice itself. Neoprene was used to create floral appliques.

Leather was used to make a sleeveless top, in a python print, in a look that also included wide-leg pants. One gown had looked as if it stepped out of a photo spread of a (Gilbert)Adrian & Madeleine Vionnet collaboration that actually doesn’t exist and never did. However, in my mind, this one shoulder sleeveless gown was perfect in representing what this imaginary collaboration would result in for this capsule collection. Not too slinky or figure hugging as the rest of the gowns in this collection, this one featured not only two colors for a gradient effect, but also accordion pleats were abound. I would hereby call this gown the “Adrian Vionnet-Rhodes Grecian Urn”.

A rather odd name, primarily because when I was thinking of this gown, Eulalie Mackecknie Shinn of “The Music Man” had suddenly popped up in my head*. The scene where the girls of ‘Wah Tan Ye’ were practicing ‘An Ode to A Grecian Urn’, she said “One Grecian Urn! Two Grecian Urns!’ Lastly, the name Rhodes is in reference to Zandra Rhodes, the designer who brought pleats back in vogue during the Studio 54 era of the late 1970s-early 1980s. That was all swirling around in my head as I was looking at the collection. One other gown that stood out was the sleeveless blue gown with beaded detail, a floor length number which looked as if it stepped off of the red carpet!

A gown I fell in love with instantly was a slinky, long sleeve boatneck gown with a plunging back. Another gown, which appeared to be both sequined and beaded, was stunning in its shade of purple. I loved Ms. Roland’s collection for Pre-Fall! However, I remain on the lookout as it wouldn’t surprise me one bit if some of her looks are seen on the red carpet come awards season.


*=A shout out to my favorite teacher Mr. Kranz and the 2002 play “The Music Man”!




Sherman, Lauren. “Pamella Roland Pre-Fall 2015.” Conde Nast, 8 Dec. 2014. Web. 13 Dec. 2014. <;.


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