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敬请期待中文版  Picture credit: Indigital With Dior's Creative Director job empty, dittoLanvin and wildfire rumours that Hedi Slimane might leave Saint Laurent to take up photography again, Pariscollections increasingly seem like displays of borrowedidentities. But that does not mean that these second-handbrands are weak. Often the opposite is true. Maison Margiela: Galliano makesit! At last! John Galliano teamed his electric eccentricity withMargiela's haute solemnity - and produced a hit collection. It's been a while. I had begun to think that there would neverbe a marriage of these two opposite spirits: Galliano with hisintense urge for decoration and a tendency to fashion madness andMargiela's heritage of noble cutting and artistic recycling. But Galliano went "pop!" with this collection and the mix ofslithering, shimmering materials with solid wool coats or sweaterswas powerfully effective.  Picture credit: Indigital The normality of the clothes - by Galliano's wild standards -made the difference. The compelling effects might come fromthick-knit arm warmers rising to the elbows, or from the way that asimple top and skirt had an unearthly glow of iridescence.  Picture credit: Indigital Galliano claimed in show notes - since he no longer appears evento take a bow - that he had learned to understand Maison Margiela'sdesign elements and techniques, "where traditional order isdisturbed with emotion and the effect of human glitch".  Picture credit: Indigital That was a good way of describing the interjections of fabricsand the sense that material was opening up or rent apart. But itwas done in a subtle, light-hearted way.  Picture credit: Indigital Could it be that after his trauma, Galliano has come to enjoy his relationship with theheritage of Martin Margiela. Maybe the two men have even met up.Certainly Galliano, a great designer who came off the rails, seemsto be back on track. Courrèges: A dozen easypieces The death of André Courrèges earlier this year brought the designerwho invented youth fashion in the shadow of the 1960s moon landingback into the limelight.  Picture credit: Indigital But design duo Arnaud Vaillant and Sébastien Meyer, who gave uptheir own brand to take on Courrèges, had already spelled out themessage last season: basics. Or "basiques". Using the same medium ofwardrobe types - angular miniskirt, cropped biker jacket, narrowtrousers, all mixing vivid colours with plain, the duo had giantphotos of each category as the backdrop.  If it looked much like a screen snap of on-line shopping - wellthat was the idea. One third of the Courrèges clothes are going onsale immediately following the new " see-now-buy-now" trend.  Picture credit: Indigital How did this collection differ from those worn by threegenerations of cute kids? These clothes were authenticallyCourrèges - although as everyone in fashion knows, you only own theinvention until a fast fashion company takes it on.  Picture credit: Indigital But these designers, living through the millennial technorevolution, understand how to modernise designs from a worldwhen stretch was in its cradle. Making and selling intechnological ways is good sense.  Picture credit: Indigital I hope Courrèges 60 years on will be a hit. But it would begood to see more of the feelings and emotions of this currentgeneration - rather than smart fashion as a tech makeover from thepast. Anthony Vaccarello: Gossip louder than thematerial Well is he or isn't he going to Saint Laurent, if and whenHedi Slimane leaves? Personally, I haven't a clue. But this was the major subject of discussion in the front row atAnthony Vaccarello, who sent down his usual sexy power womanlook.  Vaccarello's style of a sensual sportiness has already beentaken up by Donatella Versace, who picked the designer for her ownVersus line.  But there were signals that the Belgian-born designer wasleaving behind his familiar parade of black and flesh - therewere even shiny slashed pants or tailored trousers in olive greenand decoration of red and blue flowers front and centre on asweater or skirt.  A soft white fur was added to the familiar black, fittedclothes. The main message from Vaccarello is the same: a lot of baredlegs balanced on high heels and dresses with hardware decoration -although the models wore sparkly jewels this season, not least onone eye.  But here is a designer who has not yet given all of himself. Andmaybe - just maybe - he will move to a bigger stage. Jacquemus: Playing with shapes Imagine a world where everything is a straight line or a curve -no compromises - and you have the oddly childish world of designerSimon Porte Jacquemus. The winner of a special prize from LVMH seemed to have used themoney wisely, filling in the deliberate gaps and holes that havepreviously been part of his work.  Picture credit: Indigital "It's reconstitution," said the designer backstage, referring tothe way he seemed to take pieces of his designs and stand them awayfrom the body line: shoulder straps that were moulded, curvingabove the shoulder giving the effect of coat hangers; or a suitjacket so oversized that it seemed like a cardboard cut-out.  Picture credit: Indigital This playful, childlike game of garments includedheels that were either round or square.  Picture credit: Indigital I have to admit to some feelings of déjà vu, especially when Ithink back to the square cuts of early Martin Margiela and ReiKawakubo's long history of dissected and deconstructedpieces.  Picture credit: Indigital But at the age of 26, Jacquemus has an earnest innocence andwhat he does is compelling. Certain pieces, like a stand-away capedress, were simply lovely. I asked him backstage what he was trying to say. "My work is squares and circles, so I try to push these kind ofshapes, designs…" he explained. "The idea was to imagine a lot ofclothes, you put them on, and you have the kids doing collage, andhaving fun with that."  Picture credit: Indigital (责任编辑：admin) |