Lela Rose is a proud Texan, but prefall marks the first collection where she really mined her Lone Star roots. Her key reference was her father’s ranch, Rey Rosa, which she visits frequently with her family; they were at the ranch for Thanksgiving, and in May, Rose and her husband threw a party for their 20th wedding anniversary there. Experiencing Texas in the spring brought back fond childhood memories for Rose, as well as memories of her father, who passed away a few years ago. All together, the timing felt right to channel the place into her work.
The dominant motif was an evergreen toile de jouy. At first glance, Rose’s customer likely won’t register its deeper meaning, but each element is dear to the designer: Wild Texas bluebonnets mingle with owls (her father was an avid birdwatcher), stalks of wheat, wooden fences, and Phoebe, her father’s first dog. There’s a little girl on horseback who some might interpret as a young Rose; others will simply be reminded of their own free-wheeling childhoods. Elsewhere, a full denim circle skirt was hand-embroidered with all of those characters, then quilted over again; it was more casual and rugged than Rose’s typically polished fare, ditto the boyish yoke-detailed button-downs. They didn’t look out of place, though, and instead channeled Rose’s more playful, unfussy side. She’s a woman who rides a bike to work and throws a great party; down on the ranch, she’s likely wearing a men’s shirt and jeans, not a tea dress and heels.
On that note, the painterly wildflower prints felt more typically “Lela,” but appeared on looser, more comfortable shapes. A long-sleeved saffron gown stood out, and several dresses were cinched with self-tie sashes instead of strict seams and boning. The silk-fringe “bandanas” were a clever touch; a few were knotted like sarongs around evening gowns and skirts, lending a bit of softness to the waist after years of narrow, nipped-in silhouettes.
