FeedSimone Rocha

Simone Rocha SS27 at the Old Bailey: Caravaggio's The Taking of Christ, lost for about 200 years and found in a Dublin Jesuit house, as the reason for the venue and for sheer

Simone Rocha's SS27 show took over the Old Bailey, and the reference behind it is one of the better stories in art history. Caravaggio painted The Taking of Christ in Rome. After the Mattei family let it go, the attribution slipped to Gerrit van Honthorst and the original was presumed lost. The canvas that turned up in Dublin belongs to the Jesuit community on Leeson Street, who have lent it to the National Gallery of Ireland ever since it was identified. Rocha was born in Dublin, so the painting is a hometown legend as much as a masterpiece. Her reading of it, beauty sitting unnoticed in an ordinary room, sits behind both the venue and the change in the clothes: less armour, more skin, and roses doing the work her layers usually do. It arrives three months after her first standalone menswear show, as guest designer at Pitti Uomo in Florence.

The weekly

NewsletterWeekly One email a week. Every post from the week, and what didn't fit on a slide.
Free. Never shared. Unsubscribe any time.

The post, as it ran

01SIMONE ROCHA SHOWED SPRING 2027 INSIDE THE OLD BAILEY, LONDON'S CENTRAL CRIMINAL COURT. THE STARTING POINT WAS A CARAVAGGIO THAT HUNG UNRECOGNISED IN DUBLIN.
02ROCHA IS THE DUBLIN-BORN DESIGNER KNOWN FOR LAYERS OF TULLE, TAILORING AND FULL SKIRTS. THE SHOW WALKED AT LONDON FASHION WEEK ON 20 SEPTEMBER 2026.
03THE PAINTING IS THE TAKING OF CHRIST, MADE IN 1602 FOR THE ROMAN NOBLEMAN CIRIACO MATTEI. FOR ABOUT 200 YEARS NOBODY KNEW WHERE IT WAS.
04IT WAS IN A JESUIT HOUSE ON LEESON STREET IN DUBLIN, CREDITED TO GERRIT VAN HONTHORST, A DUTCH PAINTER WHO WORKED IN CARAVAGGIO'S MANNER.
05IT NOW HANGS IN THE NATIONAL GALLERY OF IRELAND, ON INDEFINITE LOAN FROM THE JESUITS. ROCHA'S IDEA: THE MOST BEAUTIFUL THING, FOUND IN THE LEAST LIKELY PLACE.
06A COURTHOUSE FITS THAT IDEA. AND A DESIGNER KNOWN FOR COVERING THE BODY SAID BACKSTAGE SHE WANTED TO BE "SLIGHTLY MORE VULNERABLE".
07SO THE DRESSES WENT SHEER, IN BLACK AND IN TULLE, WITH ROSES EMBROIDERED ACROSS THEM.
08ROSES WERE EVERYWHERE ELSE TOO: IN THICK BANDS ACROSS NECKLINES, AND CLIMBING UP AROUND THE HEAD TO FRAME THE FACE.
09THE SHAPES STAYED HERS: FITTED BODICES, DROPPED WAISTS AND ROUNDED, BUBBLE-HEMMED SKIRTS, MOSTLY IN BLACK AND CREAM.
10MODELS WALKED CLUTCHING SHAWLS, BAGS AND JACKETS TO THE BODY. A COLLECTION ABOUT LOVE, SHOWN IN A BUILDING MADE FOR JUDGEMENT.

From the archive

ArchiveArchiveGaultier handed his couture to an Irish romantic, and she stole it6 beatsRead Open on Instagram