Vogue International Editor Suzy Menkes is the best-known fashion journalist in the world. After 25 years commenting on fashion for the International Herald Tribune (rebranded recently as The International New York Times), Suzy Menkes now writes exclusively for Vogue online, covering fashion worldwide.
4 Октября 2015
Music from Blue Velvet, David Lynch's 1980s film noir, filled the raw basement beneath a shiny modern bank, where Comme des Garçons staged its summer 2016 show.
Rei Kawakubo had a slightly different take on her deep-pile furry coats, in which the models were covered in complex layers and balls of the materials.
"Blue witch," she announced, by way of her partner Adrian Joffe.
Hence the crowded set: hot, sweaty, suited to cauldrons and potions and the paraphernalia of witchcraft. In fashion terms, that meant knife-sharp toes on narrow shoes and strange objects strung along the coats, some of them looking like chopped-off animal claws.
It has been a while since the designer sent out what could be described as clothing, as opposed to some body-structure that embodies abstract ideas. I am usually overwhelmed by the magisterial depth of her artistry, and how she extends the definition of clothing.
I was less convinced by these omni-layers of fur. Maybe something will come of the witchy reductions: twisted embellishment under a circular coat; a vast velvet cloak with the fabric draped like theatre curtains; white frills cascading down a black garment - and always the models wearing primary-red wigs.
Kawakubo has done so many extraordinary body installations, but it was tough to guess what she was trying to say this time. Something about animal skin, when a coat came out with two kinds of liverish leopard spots?
By contrast, white cotton dresses seemed far away from this witchy world, and added a welcome sense of cool relief.
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