From relaxed sensuality at Céline to sombre sculptures at Comme des
Garçons – Susie Lau spots the most interesting looks on the catwalk
in the French capital.
本次在法國首都的時裝表演從Céline 的慵懶恣意享受到川久保鈴 灰調系的雕飾感 -
Susie Lau 採擷到最有趣的亮點。
By Susie Lau 9 March 2015
Paris Fashion Week has been rich and, even, overstuffed with ideas. You feel like you’ve gorged when a full day of shows comes to a close. This a city where the fashion houses have no limitations and creative directors roam free. The majority of shows have chimed with one another in their quest for eclecticism and expressions of individuality. That unifying idea has given way to very different outcomes, though. Add renegade youth and wayward Japanese designers and there you’ve got Paris, brimming with inspiration.
巴黎時裝週一直以來都是豐富的，甚至，過度充填點子創意。當一整天節目結束，你覺得你已經
被塞飽了。這個城市裡的時尚屋沒有任何限制可讓創意導演自由漫步。大部分節目符合尋求折中主義和個性的表現呼應彼此。這種整合的想法給予一種方式產生非常不同的結果，終究。加入叛逆的青春和不規則的日本設計師讓你在巴黎，靈感洋溢。
Hefty fine
健壯的細緻
Belgian designer Dries van Noten mixed the hardy and the sumptuous in a collection of sharp contrasts (Getty Images)
比利時設計師德賴斯·範諾頓混合大膽堅韌和豐盛的鮮明成對比集合（Getty圖像）
women who enjoy a rich mix of brocades and gilded fabrics tempered with khaki. Elsewhere though, designers have shown abandon whether through materials, embellishment or abundant details. Olivier Rousteing was thinking of Pierre Balmain’s excesses in the ‘80s and so went for the jewel tones of that decade with metallic fringing that needs nightclub lights to shimmy under. Alexander Wang ripped up the seams of Cristóbal Balenciaga’s ovoid shapes, stapled them back together and embellished them with razor blades and piercings like a rebellious daughter of a society swan attacking her mother’s wardrobe. But best of all was Riccardo Tisci looking back at his tenure at Givenchy. By mixing Victoriana with chola-girl get-up, he summarised brilliantly what he has done so well, which is to give Givenchy a specific strand of dark romanticism that brings the house bang up to date.
女性喜歡混合錦緞和金箔織物豐富多樣調合的卡其色布料。設計師們放棄展現無論是透過材料的點綴或豐富細節。Olivier Rousteing 所想的是Pierre Balmain 在80年代的縱情於是他使用了需要夜總會燈光下舞動的金屬墜式串珠的珠寶裝飾情調。Alexander Wang 撕開了的Cristóbal Balenciaga的卵圓形形狀的接縫處，再重新裝訂他們到一起，並用刮鬍刀片點綴它們銳利的像一個上流天鵝的叛逆女兒攻擊她母親的衣櫃。但最棒的是 Riccardo Tisci在紀梵希回顧他的任期內。藉由混合維多利亞時代與佐拉女孩-起來，他精闢地總結他所做的如此完好，這是給紀梵希黑色浪漫主義的特定鏈，為這展室蓬蓽生輝。
Dries van Noten is well-known for his lavish fabrications. His collection was an ode to passionate
Dries van Noten 他的創造奢豪是眾所周知的。他的收藏是歌頌多情
Send in the clowns
小丑傳情
John Galliano sent a mad ensemble of clownish characters down the runway at Margiela (Getty Images)
約翰·加利亞諾在馬吉拉（Getty圖像）的走秀道送出滑稽人物瘋狂樂團
It seems silly to call the rise of the individual a trend. Hasn’t it always been thus? But when the shows bang the drum for a total look and the high street stores march to their beat, you wonder how people find their fashion identity in among the cacophony. John Galliano’s debut ready-to-wear collection for Margiela made this point as he sent out a mad ensemble of clownish characters interspersed with the models – their faces painted with neon, they hunched and stalked down the catwalk in floral velvet and shoes with oversized straps. One resembled the crazy bag lady you wouldn’t want to go near. Another walked like a sullen teenager desperately trying to find herself. What Galliano was really saying was that imperfection and individuality should be celebrated and the clothes also reflected aneclecticism that moved between the house codes of Margiela and Galliano’s own tastes. It was a statement of intent for Galliano’s return to fashion and one that sets the tone nicely for his tenure at the house. Did he emerge at the end to take one of his famous outré bows? Of course not. This is Margiela after all.
呼喚特有當作趨勢看起來愚蠢。有沒有一直都是這樣的感覺？但是，當節目一鼓作聲整體觀視和著高街商店行進的節拍，你忖度人們是如何在喧囂之中找到自己的時尚身份。約翰·加利亞諾在馬吉拉成衣集合的登場製造了亮點，他送出了穿插模特兒滑稽人物瘋狂的樂隊 - 他們的臉上塗上霓虹，他們弓著身子，高闊大步下來穿著花絨和超大綁帶鞋子走秀。一個類似女士瘋狂提包你不會想要靠近。另一種走路像一個鬱鬱寡歡的少年拼命尋找自己。加利亞諾想說的是缺陷和個性化也應該慶祝而衣服也似折衷主義反映馬吉拉和Galliano自己口味的秀屋編碼之間移動。這是對Galliano意圖回歸時裝和在時尚屋很好地為他的任期定下基調。他最終有浮現他著名怪異的鞠躬回禮嗎？當然沒有。畢竟這是馬吉拉。
Casual sex
不拘小節的性感
There were leather blousons and slouchy trousers in JW Anderson’s collection for Loewe (Getty Images)
JW Anderson為 Loewe 的服裝秀裡有皮夾克衫和下垂式褲子（Getty圖像）
Phoebe Philo at Céline was asking herself about the fine line between sexiness and sensuality. (Thus far, Philo has eschewed the former.) Paraded on terracotta floor tiles to a Spanish soundtrack, her clothes exuded warmth and sultriness with undone slip dresses, loosened corsetry and fabrics developed to evoke what she called a “tattered glamour”. It was sensuality articulated for Céline. Raf Simons at Dior was eager to embrace something more savage and sexual as he had all his models trussed up in thigh-high latex boots with perspex heels and an abstracted animal print. Yet a subtle approach ensured these clothes were never overly sexualised: well-cut mannish overcoats and menswear fabrics were the main stylistic takeaways. After JW Anderson’s conceptual debut at Loewe last season, he turned to something more hot-blooded with leather blousons, slouchy trousers and a tinge of ‘80s raciness. As befitted the Spanish leather goods house, the bags were alluring but it was Anderson’s seductive way with leather in the clothes this time that made this a stand-out collection.
Céline的 Phoebe Philo自問關於性感和感性之間的界線。 （到目前為止，菲洛已經迴避了前者。）在陶瓷磚地板展覽襯著西班牙配樂狂歡，她的衣服散發出的溫暖和鬆開的襯擺禮服，不拘式的緊身搭衣和發展喚起了她所謂的“破碎式魅力”的織物面料。這是為Céline 有系統發展感官式饗宴。Dior的 Raf Simons 渴望擁抱更野蠻和性感的物件就像他為自己所有模特兒捆綁在長筒襪乳膠靴子有著帕斯佩有機玻璃高跟鞋和一個抽象的動物圖案。然而，一個微妙的方式保證這些衣服從不會過於性感化：精心剪裁的男性化大衣，男裝面料為主要風格外賣。之後JW Anderson 的Loewe最後一個賽季的概念首次亮相，他轉向一些更熱血的皮革夾克衫，下垂式褲子和80年代辛辣般色彩。如同適合的西班牙皮件商品時尚屋，包包極吸引人的，但這次它是以安德森誘人的方式結合皮革用在衣服上，使得這次服裝秀表現突出。
Japanese wave
日式浪潮
Complex constructions in white and black lace featured in Rei Kawakubo’s collection for Commes des Garçons (Pixelformula/Sipa/Rex)
在 Rei Kawakubo 的服裝展 為川久保玲混合白色和黑色蕾絲結構情結（Pixelformula /絲帕/雷克斯）
Leave it to the Japanese to go their own way. Yohji Yamamoto’s dresses under construction were spellbinding to watch if not at all connected with what other designers are doing. It’s why his shows
still hold the viewer still as you watch tent-like dresses bob up and down in slow motion along the catwalk. Likewise, Junya Watanabe and Rei Kawakubo rule the Saturday of Paris Fashion Week because their ideas hit you directly and deeply. Watanabe was playing with the many dimensions of clothing and so Chinese lantern-like constructions and honeycomb folds of fabric took garments into bulbous 3D form. It was a technique extremely well executed, to the point where you couldn’t really fault it. Kawakubo carried on her emotional treatise as at Comme des Garçons she presented the most beautiful tribute to mourning you’ll ever see. The act of making someone beautiful before they leave the world and the ceremony of separation inspired Kawakubo’s sculptures on the body of black and white lace, bows and gold brocade. These were sombre cocoons, moving slowly and as a model passed another, a look of longing was exchanged. This was a show not for the head, but for the heart. Berlin-based British composer Max Richter’s soundtrack tugged at you as you thought of the things that really matter in life. Trust Kawakubo to put things into perspective.
留給日本人走自己的路。山本耀司的衣服還引人入勝的觀看，如果不管所有其他的設計師所做連接。這就是為什麼他的表演仍保持一定的觀眾，你看帳篷一樣的衣服沿著走秀慢動作上下快速擺動。同樣，Junya Watanabe 和 Rei Kawakubo主導週六的巴黎時裝週，因為他們的想法直接，且深入地打你。渡邊玩弄著服裝許多方面，因此中國燈籠般的結構和蜂窩褶皺帶織物的衣服成3D球狀的形式。這個技術執行的非常好，重點是，你真的不能錯過了。Kawakubo帶著她對川保久玲的情感進行，你將看到的她獻上最美麗的悼念敬意。這個動作讓某人完美的離開世界，分離的儀式風格引發Kawakubo 身體黑色和白色蕾絲的雕塑，蝴蝶結和金色錦緞。這些都是陰沉的繭，當模特兒慢慢移動，並作為一種模式通過另一個嚮往的神色被交換。這是一個不是針對主題，而是對心靈的走秀。柏林的英國作曲家馬克斯里希特的配樂牽引著你，你想到的是人生真正重要的事務。
相信 Kawakubo 能從正確的角度來看待事物。
Susie Lau is a fashion journalist who blogs at stylebubble.co.uk. She is covering New York, London, Milan and Paris Fashion Weeks for BBC Culture.
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