The Sad Parade: NICK ROSENBOOM’s prêt-à-retail
Cruising down the streets in Paris or in any high-end worldwide artery, there is a general and balanced aesthetic atmosphere as common denominator. From a product perspective, you keep forgetting where you walk, far too logical. The same look-a-like woman circulates around Nakameguro River (Tokyo) or waits for the best table at Café de Flore (Paris). Simultaneously, they are both globally attractive and dealers from the most homogenous period fashion have survived in decades. What I already called: classics from 10’s.
Seeing Nick Rosenboom’s (NL, 1984) elongated rather languid females, there is something different based on mono eccentricity that blossoms. Eccentricity definitely revamped, something these global women are missing: to share their uniqueness. Therefore, Rosenboom takes the runway on turbo and delivers a promising catalogue. Twenty-four looks where individualism is considered without reaching provocation, women’s shapes are treated outside the standards. These bodies are ready to tour in town leaving behind a breeze of innovation. Just moving into edgier times, as supposed to.
No current markets have influenced Nick’s decisions for his debut collection, but indeed his work experience shows the quality he gained after having a three-year stopover in Italy (assistant designer at Cavalli and Guess); in between his Bachelor and MA diploma at ArtEz. Functionally is reflected in his multiple-season graduation pieces. As Rosenboom said: I reform contemporary situations in search of positivism.