Crayola Box Meets High Fashion: Christopher John Rogers SS21
Source: WWD
In the past year, a lot has changed for Christopher John Rogers. He was the winner of the 2019 CFDA Vogue Fashion Fund; he was named Forbes 30 under 30; his Fall 2020 collection took the world by storm (just ask Lady Gaga at the 2020 MTV Music Video Awards or Zendaya at the 2020 Emmys); he won the CFDA’s 2020 American Emerging Designer of the Year; and he recently joined #BGRadar by having his clothes now available to shop at the iconic Bergdorf Goodman.
With all the accolades and attention set on the brilliant-minded designer, one would think Rogers would eventually be forced to make his clothes more commercial or get tapped to join a big fashion house. But those who are familiar with Rogers’ fashion know his take is vastly different; he doesn’t mind staying small. Case in point: the collection that won Rogers the 2019 CFDA Fashion Fund was conceptually based around “clowns on vacation.” While many big brands such as Dior and Gucci succumbed to monetary powers, it’s unlikely Rogers will allow commercial ploys to drive his business any time soon. As such, it’s been a delight to see the niche designer become a cult-favorite brand; it’s all about the pure talent behind his clothes and Rogers knows it too.
Source: Emmanuel Monsalve / Courtesy of Christopher John Rogers
For the spring/summer 2021 season, the eponymous brand tapped yet another unlikely but on-brand source: artwork by primary school children. Judging from Rogers’ Instagram, Serena Williams' Wimbledon 1998 braids, various Judith Shea’s 1970-79 installations, the 1969 “Wiggle lamps” by Wendell Castle, Julio Le Parc’s 1960 “Grand Vague,” and a slew of others heavily inspired the designer.
Speaking of the collection on Instagram, Rogers said, “The transformation of the sun’s immenseness and formidability, into a quarter-circle of yellow crayon in the corner of a kid’s coloring book page was the impetus for this new body of work. Sharp, clear, high-drama proportions for the modern high-femme.” Sharp, clear, and high drama proportions are exactly the brand codes Rogers has gotten down to sheer perfection. Add in all the colors of the rainbow (perhaps a subtle nod to the LGBTQIA+ community?), and then the collection is filled with enough joy and escapism, which is precisely needed amid a global pandemic.
Source: Emmanuel Monsalve / Courtesy of Christopher John Rogers
While continuing to create clothes with runway and red carpet potential, Rogers has managed to also keep the everyday woman in mind when conceptualizing the brand’s seventh collection. Although Rogers was unable to make the proportioned high-volume looks he was known for during lockdown, he has maintained the same fantastical, whimsical, and carefree essence. Cotton and linen now take the place of flowy silk and taffeta, but the same ethereal silhouettes remain a constant. Rogers utilizes his Swarovski collaboration with a playful approach to primary colors in a “stretch spandex catsuit with concentric circles on the bust (sewn—not printed).” The one-piece is covered in enough crystals to make Paris Hilton do a double-take and demand one in various shades of pink.
Source: Emmanuel Monsalve / Courtesy of Christopher John Rogers
As quoted in Vogue, Rogers stated, “‘It’s nice to know that all these different types of people with differing interests, body types, and personalities can find themselves within this aesthetic. Ultimately, that’s the point.” Once again, Rogers has continued to raise and set the bar for creative directors and designers everywhere. Amidst New York Fashion Week seeing a massive decline in interest over the years, promising newcomers like Christopher John Rogers' trailblazer brand are a reason to celebrate and be hopeful for the future of American fashion.
Source: Emmanuel Monsalve / Courtesy of Christopher John Rogers