Ann Demeulemeester [1] felt that her Spring collection for men marked
the end of a story, in much the same way that the collection's
inspiration, Arthur Rimbaud, the boy king of poetic decadence, reached
the end of the line in a remote African outpost 120 years ago. For
Fall, the designer felt it was time to man up, with something more
graphic, maybe even abstract. "But strong in my way," she quickly
added. In other words, Ann's Rimbaud was never going to go Rambo on
us. He did, however, absorb more tribal influences into his mode of
dress.
That was obvious in the reworked silhouettes and rethought
proportions. The high-waisted, hyper-tailored elegance of old
surrendered to a much more straightforward elongation, as in sweater
dresses that plunged floorward, or mid-calf shirtdresses in gauzy
fabrics, both worn over legging-narrow pants. There was something
Celtic about the result. The man who wore the black and red T-shirt
dress (which needle-punched gauzy wool and cotton together) would,
more likely, be illuminated by the glow of a sacrificial Druidic pyre
than the guttering wick of a bookish Flemish candle. The same pagan
mood was captured in an outfit that layered a blazer over a long
zipped top over a long shirt over baggy culottes over leggings.
The transition between the last chapter and the next wasn't entirely
successful for Demeulemeester---too many darn dresses---and the
designer may have realized that herself, because she wasn't so willful
as to turn her back on the romantic looks that her fans crave, like
the cavalry officer's coat or the cutaway jacket. When she introduced
some sky blue duchesse, it was as though this was not so much an end
as an epilogue. Demeulemeester's man was simply layering worlds old
and new on the road to find out.
---Tim Blanks
Read more here:
Ann Demeulemeester
Links:
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[1] http://www.style.com/fashionshows/designerdirectory/ADEMEULE/seasons/
http://www.textileglobal.com/2012/01/ann-demeulemeester.html
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