Many times I like collections because they are objectively wearable and bearable, harmonious, simple, clean and easy, and other, because although aesthetically impossible, they are an intended artistic exercise or the best historical archive.
Michael Kors Pre-Fall 2009 collection, for example, is beautiful or not? They are dresses that all would put us, matching colors, elegant classical forms, there are no any but, because Kors is Oscar de la Renta or Carolina Herrera school: they make clothes to be dressed. Better or worse made but still the same line and cut in the same pattern. And that is what many call fashion.
Who invented the master Cristóbal Balenciaga, Christian Dior monsieur, mademoiselle Coco Chanel, Jeanne Lanvin and the great Yves Saint-Laurent, pioneers in his time and flag bearers of the most exquisite aesthetics, the same whose figure many believe that it has tainted giving a 180 degree turn to his legacy.
But what do you think?
Many people think that the more disconcerting a designer, better is, and other believe just the opposite: that a good Creator, should be coherent, Valentino-style. In my opinion, a good designer should never leave of surprised, whatever by the way. That should be the best meter.
And is that fashion is how art: because one does not understand it, doesn’t mean that it is worse. It is much easier to love the Boticcelli birth of Venus to the dome of the UN Barceló, because there are works universally beautiful and ugly that you should go a step further to capture its essence. Works beautiful but empty, and tremendous but loaded with meaning.
Same thing that there are designers who make clothes simple and plain, and others, that experience, that play, that risk and whose goal is not conventionally beautiful but the unexpected, the bizarre and the unexpected: it is a fact, and not you can get them all lumped. Only a few have the gift of combining the two techniques and gain.
ELSA Schiaparelli It was a great misunderstood in his time, “ Italian ” as he called it contemptuously Coco Chanel, was Prophet in the art of bewilderment; the trompe l’oeil effect, the geometric, cameos, the pink shocking and experimental fabrics (synthetic fabrics), were his specialty and skorts (a novelty for the time) and abrigo-camisa, his inheritance “ normal & #8221;.
A lover of the works of Dali, which together created a series of jackets and hats surrealists, wanted to extrapolate its essence of “ absurdity ” to the world of fashion, and always defended that the “ artificial beauty ”, could be above the “ natural beauty ”. And he got it. Because he did that chic not to be exclusive of the “ poor luxury ” Chanel and happen to be his metaphysical conception.
Thing as you can see, it does not come from now, many which the hands to the head are to see what designers like Martin Margiela, Yamamoto, Miyaki, or Kawakuwo, are unaware that in the 1920s, the unlikely was the order of the day, and that already then, rules and molds, the same that now allow broke than what do Lords as Galliano Gaultier, Ghesquière, or Theyskens, either fashion “ as the top of a pine tree & #8221;.
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