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来源:中国绸都网 | 作者:陈文婷 | 时间:2009-09-22 11:39:05 | 订阅《东方纺织》周刊

Fashion is Recycle or not ?
INEVITABLY, the talk of Paris fashion has been less about clothes than about money.
Retailers are worried about sales, and magazines are concerned with the loss of advertising. And most designers, listening to the bean counters, have played it so safe with their fall collections that they run the risk of choking. Fashion is in a fractured state.
Still, few designers are willing to admit that the expectations of fashion are changing, or to honestly question the future for luxury goods if the appetite — largely invented over the last decade with calculated marketing more than innovative design — no longer exists. Alexander McQueen’s exceptional collection shown here on Tuesday night, the most ambitious we have seen this season, was as much a slap in the face to his industry, then, as it was brave statement about the absurdity of the race to build empires in fashion.
With a runway of broken mirrors surrounding a garbage heap made of props from his own past collections, Mr. McQueen created a stage to symbolize the sudden crash of luxury exuberance. The clothes he sent out were a parody of couture designs of the last century, spoofing Dior’s New Look and Givenchy’s little black Audrey Hepburn dresses, as well as their reinventions by new designers at those companies in the last decade — himself included. It was a bit of a Marie Antoinette riot, poking fun at all the queens of French fashion.
“This whole situation is such a cliché,” Mr. McQueen said before his show. “The turnover of fashion is just so quick and so throwaway, and I think that is a big part of the problem. There is no longevity.”
Mr. McQueen, in effect, was calling fashion’s bluff when he opened his collection with a suit in a 1940s silhouette, with a nipped waist and flared skirt in houndstooth wool, worn by a model who walked with her hands on her hips and posed with the exaggerated gestures of an Irving Penn photograph. That was followed by a houndstooth print on a mink coat in a Poiret shape and wool jackets that were defaced with embroidery that looked like a Jackson Pollock painting.
All the models wore hats by the milliner Philip Treacy that were made of trash-can liners and aluminum cans, or recycled household objects; the makeup, inspired by the mad look of Terry Gilliam’s “Brazil,” gave the models the appearance of plastic faces that were all lips. The music, as well, was a mash-up of songs from his prior shows, with bits of “Vogue” and Marilyn Manson’s “Beautiful People.”
This was, Mr. McQueen said, an ironic exploration of a designer’s reinvention. The irony is that designers say that fashion is constantly being reinvented, yet they continue to show the same shapes and trends of decades past. (Ergo, this season the collections have been fixated on the 1980s.)
After the triumphs of his recent collections, this was a risky show, entirely uncommercial and intentionally provocative, and it generated extreme reactions. Dennis Freedman, the creative director of W, was visibly ecstatic watching the show; but another magazine editor, afterward, compared the trash-bin styling to “a collection inspired by Wall-E.” And some questioned whether Mr. McQueen, by including such obvious references to trash, was targeting John Galliano’s version of Dior, which, in January 2000, included a couture collection inspired by hobos and that led to protesters wearing plastic garbage bags outside the Dior ateliers on Avenue Montaigne.
Throughout his career, Mr. McQueen has relished pushing people’s buttons, though maybe less obviously since moving his shows from London, where he had developed the reputation as the enfant terrible, to Paris in 2001 after he sold his company to the Gucci Group. Mr. McQueen turns 40 next week, so he is no longer an enfant, though his work remains challenging and confrontational, especially this season, when it seems like the right moment for a deeper exploration.
While he is mocking the establishment for running circles over fashion history, isn’t Mr. McQueen as guilty as the rest?
From 1997 to 2001, he was the designer for Givenchy, one of the luxury brands owned by LVMH, and his tenure there was frequently marked by conflicts with management and mostly negative critical reviews. Before he showed his first collection, succeeding Mr. Galliano, who had moved to Dior, Mr. McQueen offended many French journalists by declaring that the original work of Hubert de Givenchy was “irrelevant.” Amy M. Spindler, the New York Times fashion critic, wrote of Mr. McQueen’s couture debut in 1997: “This was basically a pretty hostile collection from a gifted designer who seems in conflict about his role in the Givenchy studio. How members of the audience responded to the show depended on whether they were fascinated by that hostility and vulgarity or repelled by it.” The same could be said today.
During his early days in London, Mr. McQueen’s collections were sometimes described as misogynistic. The shows made audiences uncomfortable, and equally fascinated, most controversially in 1995 when he referenced the ravaging of Scotland by England by showing brutalized women in a collection called “Highland Rape.” He later transformed models into animals with horns on their shoulders or wearing leather masks like falcons; and in a 2000 collection, he showed models in a setting that looked like a mental hospital. The historian Caroline Evans, in “Fashion at the Edge,” noted that McQueen’s aesthetic of cruelty was actually culled from historic sources, “the work of 16th- and 17th-century anatomists, in particular that of Andreas Vesalius, the photography of Joel-Peter Witkin from the 1980s and ’90s, and the films of Pasolini, Kubrick, Buñuel and Hitchcock.”
So much informs Mr. McQueen’s collections that things get lost or obscured. In addition to Dior and Givenchy and Pollock, the new fall collection, titled “The Horn of Plenty,” included leather coats and poof dresses with a pattern inspired by Bauhaus and clowns, a magpie print inspired by the drawings of M. C. Escher, and dresses made of duck feathers after Matthew Bourne’s production of “Swan Lake.” The invitation showed an image of a woman with a trash bag on her head by Hendrik Kerstens, photographed in the manner of Dutch portrait artists, which was the starting point for Mr. McQueen’s exploration into recycling. (The image was recreated in a hat by Mr. Treacy.)
Some of the fabrics were made to look like refuse, including a wet-looking black paper nylon that resulted in dresses that resembled Mr. Givenchy’s chic styles, only made of Hefty bags. A charcoal silk cape looked as if it was made of bubble wrap.
“I’ve never been this hard since I’ve been in London,” Mr. McQueen said. “I think it’s dangerous to play it safe because you will just get lost in the midst of cashmere twin sets. People don’t want to see clothes. They want to see something that fuels the imagination.”
It’s an interesting issue that Mr. McQueen raises by challenging the status quo. While he did not exactly propose an obvious solution for the times, he at least suggested a viable alternative to the never-ending recycling of other designers’ fashion, which was to recycle his own.



      零售商们担心的是销售问题,而杂志则重点关注广告的得失。而大部分的设计师在设计服装的时候,当他们的思想受到窒息危险的时候,他们会趋向更加保守更加安全的设计。 时尚因此而四分五裂。
      早期在伦敦的时候,麦奎因先生的藏品有时候被描述成厌恶女人的。1995年的展览给观众一些不舒服的感觉,但是相当着迷,引起了强烈争议 ,因为他引入了“Highland Rape”。他稍后将模特转变成动物,他们的角在肩膀上,或者像猎鹰一样喜欢穿皮面具。并且在2000年的展示中,他让模特如同行走在一家精神病院。历史学家卡罗琳&S226;埃文斯对于“时尚的边缘”这一主题表示,麦奎因先生的残酷美学思想实际上来源于历史。“16-17世纪解剖学家的工作,特别是安德烈&S226;维萨里,20世纪80年代到90年代期间的摄影师乔尔彼得&S226;威特金,还有关于帕索里尼,库布里克,布努埃尔和希区柯克的电影”。
      关于麦奎因先生展会的信息如此之多,以至于部分事实模糊了或是遗失。除了迪奥和纪梵希和波洛克,关于新赛季秋装的搜集,标题名为“蓝精灵”,包括皮制外套, poof连衣裙上包豪斯和小丑描绘的图案,喜鹊图案的灵感来源于埃舍尔周期图。连衣裙是用鸭毛做的,借鉴的是马修伯恩的“天鹅湖”。邀请画中显示了一个妇女头挂一个塑料袋的画像,这是亨德里&S226;克尔斯滕斯的作品,以荷兰画师的方式拍摄的。 这是麦奎因先生探索回收资源的起点。
       “从我到伦敦其我就从来没有这样努力过,” 麦奎因先生说。“我认为合理的游戏时尚是困难的,因为你将会迷失在两套羊绒外套之间。人民不希望看见,他们只是想要看见一些激情,如同燃料带给人们的想象力。”
      “我从来没有这方面努力,因为我已经在伦敦,”麦奎因先生说。 “我认为这是危险的发挥它的安全,因为你将变得迷失在羊绒双套之中。人们不希望看到的衣服。他们希望看到一些燃料的想象力。“


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