2011 Autumn And Winter Special Report On Advanced Customization In Paris

In order to make the fashion week back to its former glory, Didier Grumbach, chairman of the French High Fashion Association, did not work hard. This time, he successfully persuaded the master Azzedine Alaia, who had long been out of fashion, to come out again and hold the first large-scale conference in six years. Giambattista Valli, an Italian who once trained from Emanuel Ungaro, is also in the Committee. Pass by unanimous vote In the case of fashion week, the official list of custom week has not been so busy for such a long time.

As a matter of fact, the stage of the twenty thousand dollar dress has long been needing some fresh blood. But after the original protagonist Christian Lacroix and John Galliano have retired, the chief director, Mr. Grumbach, obviously needs new help.

On the first day of fashion week, Valli's conference was held on the promenade of the Plaza de Madrid, not far from Saint Honore street. Such a location is more appropriate: his studio and sample room are upstairs, and the newly opened clothing shops are not far away. The rhombus black-and-white floor tiles of the promenade become natural stretches. The few spectators sit on both sides, and everyone is the first row. Less than 8 years after the establishment of the brand, Valli has accumulated a large number of celebrities. Besides the Lee Radziwill and Daphne Guinness, the show also includes members of the Brandolini and Dellal family.

Beginning with a daily fashion, Valli's new series conveys the positive message from the beginning: who says advanced customization? A destination Only the red carpet and the museum? What inspired the designers was the plain white shirts worn by the old fashion salon models during the trial fitting gap. They did not appear in the form of poplin shirt skirts. They were turned into a knee and half skirt and black knitted sweater - embroidered with a pearl necklace.

Exaggeration or radicalism is never the style of Valli. He loves the gentle and elegant early 1960. Fashion line 。 The pale blue dress and cloak designed by Princess Sherlock of Monaco to attend the wedding of Uncle Albert II has become a big red version. The beautifully pleat chiffon dress is dancing with the cat step, and the imaginative gold jewelry reminds people of the body jewelry of Claude Lalanne.

"I want to be a seasonless and outdated garment; to be simple and modern, at the same time do not make mistakes." Valli said before the conference. It sounds like a guarantee for celebrities. If you are regarded as the Valentino or Hubert de Givenchy of this era, you and I should not be surprised.

Compared with the former, the British Bill Gaytten, who also gave birth to her debut work, was much more unfortunate: the news conference of Galliano's former assistant, who temporarily held the Dior fashion house, received unanimous cold reception from the media. "I like Mr. Gaytten, he is a sweetheart, but he is not a designer," wrote Cathy Horyn of New York Times.

Let's not be too mean to a plate maker who has worked quietly for more than 10 years in his studio. The starting point of Gaytten is actually good: the architectural works of Frank Gehry, the interior design of Jean-Michel Franck, and the "Memphis group" art movement in 1980s, which are much more inspiring than Galliano's last conference. But on the flyover of Musee Rodin, it is another thing that lies before the audience. Dramatic wrinkles and arranged fruit colors echo the theme, but what is the most important aesthetic feeling of fashion?

Like Alexander McQueen's deputy Sarah Burton, Gaytten has the ability to wield scissors, but it does not have the eye of the former boss. This is also evident from the overall shape of Dior: Despite the makeup of Galliano Pat McGrath, the hairstyle of Orlando Pita, the hat of Stephen Jones, and the stage design of Michael Howells, there is always something missing. Before finding a real successor, Dior had plenty of reasons to be absent from this week's fashion week, but they didn't do so. The cost of desperation is that the show reveals the truth of the absence of the leader in the fashion house.

Another rookie invasion

In retrospect, the last time the new recruits invaded the high level custom was still in the spring and summer of 1997. In that season, Galliano moved from Givenchy to Dior and launched the Maasai tribe series that made him the master's palace. The Alexander McQueen, who succeeded him in Givenchy, released a series of ancient Greek myths, which were praised for his evil comments. There were also Gianni Versace and Jean Paul Gaultier. The situation of talented people has created the brilliance of advanced customization for a period of time. After two Dior 7 years, the vacancy of the throne of the fashion house indicates whether another cycle begins.

Nicolas Ghesquiere and Alber Elbaz, Raf Simons and Marc Jacobs, the most outstanding designers in the field of clothing, are they likely to dye uniforms in the future?

Among the rookies that are currently active in advanced customization, the new red ANDAM series nominee Alexandre Vauthier has shown some degree of good technology, but as Cathy Horyn said, some designs "still can't get rid of the commercial sense of TV shows." The popular Alexis Mabille has been the theme of the new series of animals: "ant" is a black crepe skirt showing both sides of the thighs. The wolf's skirt is decorated with a row of Swarovski sharp spines on both arms, while the skirt of the "horse" has a silk fringe on the side of the chest. These skirts are very sexy with the French version of "Vogue", and most of them are familiar with each other.

Another French Bouchra Jarrar has been a Nicolas Ghesquiere assistant for 10 years. She knows how to deal with men's fabric, and knows how to wrap a coat on her face. Is it important for her unusually simple work to be uniform or clothing? However, Maxime Simoens admits that only 20% of his series can be strictly called uniform uniforms, of course, the most exaggerated, the collar of a skirt is inlaid with crystals, and the other has a cloak on the back.

Among all the designers who are at the helm of the high-end custom fashion house, the 37 year old Riccardo Tisci is the youngest. His new inspiration for Givenchy comes from "purity". "I try to find light from the dark, but a very weak but pure beam is like a romantic dream." He said.

In Tisci's view, "the most beautiful part of advanced customization is the white cloth used in the beginning," so he chose the color palette closest to the cloth itself: light beige, ivory white and pure white. "White can also be a very strong color." Tisci claims that "if women want to be sexy and tender at the same time, then white is her choice."

This series of tailoring is smooth and self-cultivation, the biggest point is in the details. For instance, thin gauze skirts are decorated with crystal pendants, changing their luster under the light. Tisci compares them to "angel tears" (it is said that the arrangement of these pendants on clothing refers to the distribution of pores on ostrich skin). The sandals that match the skirt are inspired by wax wax, which is commonly seen in religious pictures in nineteenth Century, and each pair is unique. In addition, the designer likes to add the pendant gold chain on the edge, each chain width is less than one millimeter, and even the alloy bag hangs the chain hanging down to the ground.

The curled duck feathers and ostrich feathers are stacked on the neckline of the dress, and the tiny lace is surrounded by a delicate heart shape in the chest position of the dress. After the high collar and exquisite details have given you a sense of good times, the rounded corners of the back hem and the thick zipper bring you back to twenty-first Century.

Creators of age disparity

If the past six uniformed series of Pier Paolo Piccioli and Maria Grazia Chiuri have not yet made you remember their names, does this mean that they haven't done enough for Valentino? All year round, trained in the accessories department, the first show after Piccioli and Chiuri took office is the most advanced customization that can test the strength. The critical comment circle is not optimistic about the two people who are new to the market. Three years later, the attitude of the front row audience has undergone subtle changes.

Giancarlo Giammetti, the former brand manager who sat at Anne Hathaway who watched the conference, only caught the essence of the series in just one sentence: "very Kate Middleton". Thanks to the new British Princess, the cute and unassuming princess skirt suddenly became popular nowadays. Piccioli and Chiuri also use the round collar, long sleeves and relatively loose waist line to make the transparent gauze skirt and velvet landing skirt keep the dignity while keeping the girl's breath. "We are looking for the grace of women." Piccioli said, "we don't use the word elegance very much now, but I think dressing appropriately has a rebellious spirit in the moment. Luxury can not be related to high key."

Advanced customization is not a game anyone can afford. For young designers, she is like a dangerous beast. Taming her requires courage and perseverance. In 2005, when Giorgio Armani left Milan at the age of 71, when he went to Paris to release his first senior custom series, what kind of dream and determination did he embrace? The custom garment is the only peak that the king of clothing has ever set foot in.

This spring, Armani cancelled the scheduled East Asian trip due to the Japanese earthquake. After a series of holidays with China as its theme, the new series salutes to Japan: the cherry blossom logo is printed on the cloth, the folds on the half skirts are origami, and the belt's spiritual sense comes from kimono. Armani continued his love of flash fabrics, and the slender outline became more charming after adding charming colors. However, some skirts were too narrow and thin, so that several models had to walk like a Geisha in Kyoto. In 1980s, Armani's tailoring was famous for emancipating women.

Like Armani, Azzedine Alaia, which became famous in 80s, is now over seventy. If the core meaning of uniforms is the constant interpretation of the body, Alaia's design style comparable to female anatomy may be closest to the original spirit of Paris's advanced customization.

Despite the continuous introduction of special custom works over the years, Alaia is the first truly sophisticated series of customization. At this conference, there are only three photographers in front of the crowd and the photographer's long guns and short guns. One is responsible for video recording, one is responsible for capturing clothes, and one is responsible for the scene panorama. No gorgeous stage, no dazzling lights, the designer's new profile is the only protagonist of the performance: half of the body is a short jacket, with a slim skirt, and the back may also be decorated with two zippers that highlight body curves.

Alaa also transformed his previous short skirt with white cotton shirt. However, this advanced custom series is much more specific in detail than the tailoring: we can see the weeds and threads on the woolen skirt, the holes in the coat, and even the fabric with fur and crocodile skin. At the end of the conference, goat skins, velvet, and silk ribbons were all cleverly fused in a grid skirt.

Lonely performance

Interestingly, the two series that won the most applause this season is from two designers, Alaia and Karl Lagerfeld, who do not usually appreciate each other. In a recent interview, Alaia publicly expressed disdain for Lagerfeld and his loyal followers, Anna Wintour: "I don't like his fashion, nor do I like his attitude. Karl Lagerfeld never touched a pair of scissors in his life. This is not that he is not excellent. He belongs entirely to another system. "

That's exactly what it is. Lagerfeld, a popular designer, is not a traditional uniform designer. His new night fashion show directed by Chanel is quite different from other conference this week. Following the establishment of giant perfume bottles and golden lion statues in the center of The Grand Palace, Lagerfeld ordered people to re enact Coco Chanel's favorite Wanda Square in the museum - the Ritz Hotel where Ms. Chanel lives. The copper pillar in the center of the square became a beautiful lamp post in The Grand Palace, and the statue of Napoleon at the top was replaced by Chanel.

In the past, the launch of Chanel, Dior and Jean Paul Gaultier was regarded as the three bright spot of the advanced custom fashion week. With the curtain call of Galliano, Chanel could not cling to one's hands, and Gaultier hoped for more hope.

A ballet dancer enters the training room. The demon male coach asks her performance to reflect the two characters of the black swan and the white swan. This is the plot of the movie the black swan and the opening of the Gaultier conference. Ballet dresses and feather feathers create the dream world of Swan Lake, but Gaultier tries to dig out the dark side of fairy tales.

Whether it was the opening jacket that clipped like a short windbreaker, or a twill half skirt, there were hidden feathers on the hem, calling up the image of Russian ballet dancers wearing headgear. Throughout the series, Gaultier has used many feathered feathers that are very similar: from the multicolored magic of simulated stork hair to the evening coat with cock feather sleeves and to the colorful gauze skirts made of pheasant feather, these feather effects are achieved by no more exquisite embroidery process.

Gaultier continues to refine and innovate the patterns he likes. The short coat is redesigned as a knitted pullover, which looks like the dress designed by Mrs. Gres in the Museum of the booldle Museum. On the same stretch of platform, Gaultier also provided Gres ladies' image for men (the descendants of dancer Nijinsky and Nureyev), such as using a belt to link the white knitted sweater sleeves with men's tailless dress, or a cloak for the fashion week this season.

At the end of the show, the French pop singer Mylene Farmer appeared in the show. She was wearing a motorcycle jacket and wearing a short skirt with a low hem, which made it impossible to recall the image of Gaultier's idol Yves Saint Laurent in the early 1960s, which was designed for Zizi Jeanmaire's popular single "Mon Truc en Plumes".

Back to Chanel's show. Lagerfeld's enthusiasm for the classic twill dress seems to have never diminished, and a series of new tailoring has been launched, such as a straight grey skirt or a trumpet waist waist. Another part of the innovation is reflected in all kinds of stunning fabrics: sequins and mottled Lurex silk thread, and can only be close to understand - and even not necessarily illusion.

Lagerfeld's advanced custom clothes always love the eyes of the viewer at different levels, revealing the secrets that the owner of the custom-made clothing can only know. In this series, the three outlines of a garment contain a secret: a suit that looks very nice can be decomposed into three parts: tight blouse, corset and pencil skirt. To cope with evening occasions, a suit can be turned into a strapless dress -- a long skirt (with embroidered petticoat) and a knee cocktail skirt.

The slanted twill on the head of the model is also unique in its hat, with a black ostrich hair on it, with a layer of lace underneath it, which makes the eyes appear invisible. In addition, accessories such as removable sleeves, twill weave and lace arms can also make cross dressing more interesting. In the evening dress, two dark blue styles are particularly impressive: one is the amazing sequins, the sequins on the clothes extend to the knee boots, and the other is the improvement of the waist skirt set. The ostrich hair has played the role of the skirt.