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敬请期待中文版  BouchraJarrar greets the audience after her A/W 2014-15 Haute Couturecollection in Paris Picture credit: Getty The appointment of Bouchra Jarrar as Artistic Director ofLanvin is a deserved reward for a designer who has built hersuccess on liberty, egality, and femalefraternity. The strength of her own label, established six years ago, isbased on making modern clothes tailored for her peers and theirlifestyles. She replaces Alber Elbaz, whose strength, in adifferent way, was to speak to women and their needs.  BouchraJarrar's appointment as the new Artistic Director of Lanvinwomenswear was announced today. She takes over from Alber Elbaz,who left the post in October last year Bouchra Jarra, 45, of Moroccan origin, has a powerful fashiontrajectory that took off when she became Studio Director forBalenciaga under Nicholas Ghesquière, whose work she still shadows.A brief period as Head of Haute Couture at Christian Lacroix gavethe knowledge and the courage to offer a high fashion as well as aready-to-wear range under her own name -always with the accent ontailoring and on the everyday (if elevated) world of women. Shaw-Lan Wang, the owner of Lanvin, was instrumental in oustingElbaz. Praising the new designer's mastery of cuts and ofmodernity, Michèle Huiban, CEO of Lanvin, said: "She is the obviouschoice for Lanvin - her timeless style is in keeping with thevalues of our company founded by Jeanne Lanvin."  BouchraJarrar and Michèle Huiban, CEO of Lanvin On her appointment to her new role, Jarrar said, "It is a hugehonour to continue promoting the Lanvin style, with designs createdin the company's ateliers by teams who possess extraordinaryexpertise. "Joining Lanvin meets a desire to expand my creation to widerfields of expression. It is my intention to bring to Lanvin theharmony and consistency of a fashion designed for women - a fashionof our time." What the much-admired Bouchra Jarra did not say, and nor did thepress release report, is that she is shuttering her own company inorder to take up this role at Lanvin. It is probably a wisedecision, because it is one taken increasingly by designers whofeel that they can go only so far with their own energy and thesupport of private investors. Kris Van Assche, Creative Directorfor Dior Homme, is an example of a designer who last year closedhis personal brand because of the difficulties of maintaining anindependent label while working for a major brand.  BouchraJarrar, A/W 2016-17 Picture credit: Gianni Pucci/InDigital I have not asked Bouchra Jarrar, whose company had investmentfrom BpiFrance, how she feels about losing her eponymous brand. Norwould I want to discuss that at her moment of glory. But I am awarehow impossible it has become for budding talent to burst into fullbloom without major support. And I am only happy for her - and forLanvin - that she has this new position. This announcement, coming at the end of a fashion season, givesme food for thought. All the brands pushing forward seem to havebig bucks behind them, such as Jonathan Anderson at Loewe andChristopher Kane in his own name, backed by Kering. Below are some thoughts about lonesome fashioncowboys. Roland Mouret: Velvet Underground With Simon Fuller of XlX behind him and Victoria Beckham in thesame stable, it is a mystery to me why Roland Mouret does not seemto move forward his brand identity. This season, he did everythingright. Even if the 1970s "velvet underground" has become awell-trodden path, he worked it by linking upSaint-Germain-des-Prés from his French origins with the Chelseadistrict of London, his chosen home. Add the Eightiessinger-songwriter Kate Bush and a touch of Victoriana from wayback, and there was a new spirit to the show.  A signaturelook from Roland Mouret's A/W 2016-17 collection Picture credit: Kim WestonArnold/InDigital Long, lean, and rich in deep-pile fabrics, wine-red dressescontouring the body with velvet or lace panelling seemed like aseductive new look to follow Mouret's famous body-clinging "Galaxy"dress. Short or long skirts printed with Art Nouveau flowerpatterns had a sense of modern glamour. But someone needs to pushthis look to fashion's centre stage, and position Mouret as one ofthe great modern cutters whose clothes caress the female body.Otherwise it becomes just another show. Cédric Charlier: Breton Reverie If Coco Chanel and Jean Paul Gaultier have given the seal offashion approval to Breton sailor style, it has to be counted as aclassic. The naval look was front and central for CédricCharlier, even if he swapped marine blue for hazard-warning yellowon some of his artfully tailored outfits.  Acid-brightcolours at Cédric Charlier A/W 2016-17 Picture credit: Kim WestonArnold/InDigital "I tried to imagine a girl from the seaside embarking on anurban lifestyle. Exploring the iconic codes of the maritimeworked," the designer said to explain lively, youthful sportswearsuch as curvy jackets teamed with soft trousers. Charlier worked at Lanvin with Alber Elbaz for six years butcame into his own when he was handled by the Italian Aeffe Group,which not only runs Alberta Ferretti but also backs Moschino,Pollino and Jeremy Scott, among others. Charlier has announced thathe plans to follow a new system of "buy now, sell now", by showingin June and January. I hope he succeeds, because however good it isto be chosen to resuscitate an existing brand, Charlier's freshvoice deserves to be heard. (责任编辑：admin) |