2012春夏高級訂製服特別報導之二: Chanel藍色狂想曲 Giorgio Armani新蛇蠍美人
SS2012 Haute Couture: Visual Melody on Fabric


Chanel這回以離頸領與一字領的剪裁,彰顯女性肩頸風情。

Chanel這回以離頸領與一字領的剪裁,彰顯女性肩頸風情。

»»高級訂製服的第二天,Chanel、Giorgio Armani與Givenchy皆以繁複的手工與印花,豐富布料的觸感與視覺衝擊,進而訴說其本季主題。而Gustavo Lins與Stéphane Rolland則回歸到剪裁與布料應用,雕塑出女性柔中帶剛的樣貌。

這季Chanel的高級訂製服系列以在機艙場景內發表,Karl Lagerfeld以各種藍色色調 展現女性肩頸間的風情萬種。藍色為主的系列中大量的離頸領、一字領、削肩等設計,再以羽毛、薄紗、綴珠等細膩的手工點綴,以細膩不張揚的手法,襯出女人性感的鎖骨與肩臂線條。而或大或小的燈籠袖也是此季重點,讓整季H-line為主的輪廓線,多了些空間感與華貴氣勢。而出自Chanel工坊的釘珠手藝不僅在洋服表面蔓延,甚至不經意地灑落在女模腿上的絲襪,替此奢華系列增添些隨性俏皮的氛圍。

Chanel 2012春夏高級訂製服的珠飾、手工刺繡等,依舊表現搶眼。

Chanel 2012春夏高級訂製服的珠飾、手工刺繡等,依舊表現搶眼。

上季的Giorgio Armani Privé向日本藝妓取經,將和服織紋印花等元素與現代西式套裝和禮服精采融合,而這季Giorgio Armani則向自然界找靈感,以蛇為發想打造新版「蛇蠍美人」。透過數位印花,仿蛇皮的布料有了更多面向,可以是日間套裝上的螢光網狀質感,也可是晚宴服裙襬上迷幻的紋理變化;而精湛的亮片與綴珠釘繡,也表現出蛇皮的立體觸覺。而厚緞面布料在立體剪裁下,靈動的光線反射呼應了特屬於冷血動物的光滑肌理。

但這蛇蠍美人並非以妖媚見長,而是宛如梅杜莎般,以自信石化他人目光;在套裝系列中,Giorgio Armani以墊肩小立領或三角型大翻領塑造女性剛毅線條,並以染色過的鱷魚皮為主材料,增加外套的硬挺度與奢華感。晚裝則以平口沙漏型或魚尾長禮服為主,大面積布料扭轉或同類布料層次累積下,以簡潔的線條與手法,展現女人自信的致命吸引力。

Giorgio Armani將蛇皮意象以數位印花或綴珠,轉化到春夏高級訂製服系列。

Giorgio Armani將蛇皮意象以數位印花或綴珠,轉化到春夏高級訂製服系列。

Givenchy女模的鼻環雖與前幾天秋冬男裝發表相呼應,但在這春夏高級訂製服裡,Riccardo Tisci要說的是另一個截然不同的故事,今春也雖僅有十套曳地長裙,但他再次證明高訂的精粹不在於套數,而是極致繁複的工藝與服裝的完美結合。鱷魚皮直接製作馬甲已非新奇之事,而首兩套深褐色的皮料應用令人印象深刻;不管是將皮料一片片拼縫在長裙與貼身袖子上,以模擬鱷魚皮的質感,或者是將黑色皮雕錯落在外套上,這些後天加工都使得禮服表面鋪擬出斑駁衰頹卻又精緻奢華的質地。而後幾套淺色系列的布料表面,則以綴珠與亮片鑲縫在斜裁的布料上,在不影響布匹垂墜調性中創造出輕柔緞料的新面貌。而在這纖細修長的輪廓中,Riccardo Tisci又以誇張的耳環鼻環與適時的裸露剪裁,平衡諸多裝飾可能引發的視覺沉重感,也娓娓道來這季Givenchy特屬的遠方民俗部落想像。

Givenchy這次以精湛的皮雕與綴珠詮釋異地部落的故事。

Givenchy這次以精湛的皮雕與綴珠詮釋異地部落的故事。

除了上述三大品牌外,其他品牌的高級訂製服也有其可看之處。來自巴西的Gustavo Lins以黑、墨綠、灰色等低彩度顏色為基調,走複雜結構中帶有飄逸線條,使用大量垂墜與其招牌的和服剪裁,柔化長洋裝與外套的線條,卻反襯出剛毅的女性樣貌。而以建築風格著稱的Stéphane Rolland,其同名高級訂製服品牌中,則全以晚禮服為主打,使用黑、白、黃、紅的厚緞與雪紡,雕塑出立體結構與裝飾細節,並搭配具視覺量感的金屬配件,使長裙飄逸中又有強韌的質感與線條對比。««

左二是Gustavo Lins的軟結構系列,右二則是Stéphane Rolland具建築雕塑感的禮服。

左二是Gustavo Lins的軟結構系列,右二則是Stéphane Rolland具建築雕塑感的禮服。

»»Chanel’s blue Rhapsody set its grand show in an air-craft-like stage to elaborate Karl Lagerfeld’s fantasy about sky. In this H-line dominant collection, every tone of blue colors decorated the elegant women in Chanel. The wide cutting of the collars exposed the delicate beauty of female’s shoulders and neckline. Also, the extravagant embroidery made of beads, feathers, sequins and other unknown materials deliberately enriched not only the texture of the fabrics but also the diverse and exquisite appearances of female.

Giorgio Armani provided a new definition of femme fatales, more related to snake motif, less to the wickedness. The snake skin had been incarnated in various ways, such as digital printing, mesh as an abstract version and sequins that created relief –like texture. Models were wrapped with glimmering chartreuse-toned outfits, like jackets with demonstrative shoulders, skirts and mermaid gowns with sculptural asymmetric folds. Armani manipulated the modern technological elements and techniques to express the confidence and irresistible attractiveness of new femmes.

Riccardo Tisci let Givenchy’s collection to express the essence of haute couture—combining the complex cutting and the most exquisite craftsmanship to praise the female beauty. Crocodile skins not only cut into corsets, but skillfully cut into pieces and seamed to bias-cut draped gowns. The careful arrangement of beading and sequining also created a luxury texture to the white satin without disturbing the elegant draping of fabric. By adding sets of exaggerative nosering and earrings, Riccardo Tisci did make his own version of tribal female warriors in an unknown continent.

Atelier Gustavo Lins and Stéphane Rolland used cutting to compose their narrations of haute couture instead. The former’s excellent drape skills shaped the soft and fluid silhouettes for females while the other manipulated his signature architectural structures and details to form a sculptural evening gown collection.««

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