紐約2012秋冬女裝特別報導之六: Thom Browne上演招魂秀 Marc Jacobs演繹建國時代
Fantasy Without Boundaries


Thom Browne本季大玩「招魂秀」。

Thom Browne本季大玩「招魂秀」。

»»本日的紐約時裝周,奇想程度不輸巴黎。Thom Browne此回以「棺材」驚嚇觀眾,Marc Jacobs用誇張戲謔手法詮釋美國建國年代,Donna Karan回歸出道時的Power Suit風格,Olivier Theyskens在Theory則以更加豐富的材質融合哥德元素與都會風情。Thom Browne繼男裝系列出現「科學怪人」後,本季女裝繼續大開玩笑,一位位頭罩黑紗,「為時尚而死」的女模由棺材中爬出,為觀眾帶來「時尚招魂秀」。撇開噱頭,本季服裝也是同樣驚人,不是生人所能駕馭。幾套連身裙裝與外套上的絎縫立體剪裁如「腫瘤」般凸出;多達六層的多層次穿搭,有著超過30粒鈕扣的長大衣以及「牢籠」造型裙裝,在墓地般的會場中更顯奇詭。而Thom Browne慣用的灰色格紋毛料,本季與立體緹花布和雪紡紗拼接,以「錯視」(trompe l’oeil)創造長腿與纖腰。而卡通般扁平狐狸造型的披肩,不知是否是對本季皮草氾濫的反諷,展現Thom Browne特有的惡趣味。

Donna Karan回到80年代她甫出道時的Power Suit套裝,以1940年代女星Marlene Dietrich和Joan Crawford為靈感,大墊肩、寬駁頭(Lapel)的灰色條紋西裝做為主軸,散發黑色電影(Film Noir)女主角的強硬與自信。在細節中則可以看到Donna Karan獨有的玩味,裙裝與外套以富奇想的打摺處理,領口也多有解構式不對稱細節,使西裝毛料、天鵝絨、和絲綢等矜貴布料組合不顯拘謹;而不其然出現的斜紋蘇格蘭呢、機車皮衣和軍大衣(Parka)等元素更帶來年輕活力。除服裝之外,另一造型焦點是由Stephen Jones特別製作的帽款,以立體派手法做出變化,歪戴在模特兒頭上的Fedora帽沒有落魄警探的陰鬱氣息,反而使全系列多了一份俏皮。

Donna Karan以1940年代為靈感。

Donna Karan以1940年代為靈感。

「我想創造美國移民時代,清教徒的冬日幻想。」Marc Jacobs在兩周前對設計秀場舞台的Rachel Feinstein說道。今日從超現實的巨大紙雕背景中走出的模特兒們,完美呈現了這個主題:在誇張的絨毛帽沿下,維多利亞式剪裁的外套、繭形大衣、毛呢披肩與皮草層層混搭,讓人不由得感受到嚴冬降臨,有著誇張臀圍的裙裝,更讓人聯想到當年美國拓荒者略帶笨拙的身形。但Marc Jacobs特別開發的布料中穿插的糖果色調、絨毛質感與閃亮金屬光澤,再加上鑲有水鑽的五彩短靴,則使系列充滿了濃濃的戲謔意味。

Marc Jacobs以誇張剪裁與材質演繹美國開國年代。

Marc Jacobs以誇張剪裁與材質演繹美國開國年代。

Theyskens’ Theory本季奏出了較為歡快的風格。標誌性的超短褲搭配厚重毛衣與長大衣仍構成全系列的主軸,但由金色毛呢與雪紡紗為主,搭配印花與緹花裙裝、水洗天鵝絨長褲乃至多種皮革及皮草的運用,則呈現更加多樣的都會風情。但Olivier Theyskens的哥德風味並未缺席,秀中一套做舊公主線洋裝仍顯露Theyskens對維多利亞時代的熱愛,秀末的碎花雪紡長裙與純黑絲質禮服,更回復Theyskens早期的英式浪漫主義。

Theyskens’ Theory融合闇黑哥德與都市雅痞。

Theyskens’ Theory融合闇黑哥德與都市雅痞。

Ohne Titel的Alexa Adams和Flora Gill本季以布料藝術家Sheila Hicks的針織圖案為靈感,由格紋、條紋與變形千鳥紋所組成的繁複印花,搭配皮草創作視覺效果強烈的裙裝;橫紋針織毛衣與摺裙則為系列帶來運動風味。Phillip Lim以本季大熱的錯視效果貫穿全場,再剪裁俐落的套裝之間,黑白鑲邊更強調纖細身姿;使用皮草拼搭的外套,造成有如T恤般的錯覺;厚重針織毛衣上,則使用不規則色塊拼搭,提升全系列的立體感。««

利用印花錯視,設計師製造強烈視覺效果。(左一至二:Ohne Titel 右一至二:Philip Lim)

利用印花錯視,設計師製造強烈視覺效果。(左一至二:Ohne Titel 右一至二:Philip Lim)

»»Thom Browne carried on with his wicked sense of humor, setting up the show with models crawling out of coffins as “resurrected fashionistas” who “dream about fashion in their afterlives”. The clothes themselves where just as whimsical, the straightjacket like silhouettes of the jackets paired up with an abundance of textures arranged in a trompe l’oeil manner, the collection looks indeed like it is not meant to be worn by the living.

Donna Karan returned to her staple power suits, but combined it with asymmetrically cut collars and pleats, bias cut tartan and occasional touch of the military. The “cubist” fedoras by Stephen Jones were another noteworthy feature, lending an extra film noir vibe to the collection.

Marc Jacobs was inspired by pilgrims this year as he layered an endless array of peculiarly cut coats, jackets, scarves and throws to resemble the attire suitable for the cold New York winter in the 19th century. The fabric selection however added a touch a satire to the collection, as the metallic tweeds blended with angora, plush colors and crystal studded shoes showed stark contrast with the clumsy silhouette.

Theyskens’ Theory has shown more Theory and less Theyskens this season, as the show was based around golden tweeds and chiffon to emphasize the brands’ chic urban vibe. Prints, jacquards, washed velvet and an array of leather and fur were also among the rich lineup of materials this season. Theyskens’s print was however by no means absent, as the last two evening gowns showed his staple Victorian inspired darkness.

Ohne Titel took notes from textile artist Sheila Hicks, using a combination of stripes, checks and bird prints to create a visually striking collection. The striped pullovers and pleated dresses added sportiness to the collection. Phillip Lim based his entire collection around trompe l’oeil, trimming each outfit in black or while for a slimming effect. The asymmetrical prints on some of the knitwear also added an extra dimension to the collection.««

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