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Kelly Rissman
US News Reporter
If you thought tutus were only for ballerinas, Simone Rocha's latest fashion collection proves otherwise.
Her spring/summer 2025 show at London Fashion Week took the idea of the tutu to new heights, while also giving it a darker edge.
As we've come to expect from the Irish designer, Rocha's collection swung between flirtatious and melancholic: her designs captivated with a haunting romance, while children's tutus were bathed in bright reds.
Born in Dublin in 1986, Rocha graduated from Central Saint Martin's College in 2008 and made her London Fashion Week debut just two years later.
This collection didn't stray far from Rocha's quintessential style, from delicately embellished pieces to sheer, pale pink overlays, balancing prim detailing with dark deconstruction.
Balletcore began sweeping TikTok fashion accounts late last year, and this season Rocha proved the trend is more potent than your average social media fad.
The runway was filled with tulle skirts, silk slippers, organza clutches and a palette of blush pink hues.
Some models carried organza-covered handbags that looked like rolled-up tutus and could very well become one of the “it” bags of the season.
He also showed his more experimental approach to fashion, with statement bows, deconstructed coats and sheer overlays that revealed the fragile details of each model's body.
The rose motif has become something of a Rocha signature, used on skirts, tops and trousers, but also incorporated as accessories when models graced the catwalk with bouquets of blush flowers.
However, this prudish innocence was interrupted by Rocha's use of bright reds and intense blacks, along with perfectly tailored suits, coats and dresses.
“There's a frivolity and a reality to it,” Rocha told WWD before the show, explaining that her inspirations for this season came from ballet and German dancer and choreographer Pina Bausch.
There were also new elements in this collection for the designer: she used denim for the first time, bringing a texture and dimension to the show never seen before.
Rocha's introduction of bold patterns and deeper hues managed to unite the demure frivolity of balletcore with something darker and more adult.
