Fabric Novelty Fashion Out

People often rush to the next IT handbag that will soon be hot, but the stars fail to dress in the red carpet, but they can not understand the exaggerated appearance of the fashion, the wonderful cutting techniques and the complicated abstract printing.

The composition of these elements is based on fabric.

So from a certain point of view, fabric is the soul of fashion.

Suzy Menkes claims that Nicolas Ghesqui re is "the creator of futuristic fashion," because he can always persevere in subversive experiments.

Since the spring and summer of 2007, futurism began to flourish on the stage of Balenciaga. The sexy female robot was wearing gold foil Legging inspired by automobile parts. Behind the latex dress, there was a picture of the imperial palace of Japan in feudal times.

In this season, which still responds to futurism, Ghesqui re uses high-tech hi-tech fabrics to absorb and reflect the laser and neon lights projected over the T platform by using its sensitive characteristics to the light source, so that the clothing will show an amazing discoloration effect in the process of moving the models and changing the light.

However, the use of technology to arm fashion will result in complex and difficult clothing, which will add to the burden of consumers.

Taking last spring and summer Balenciaga's flower armor as an example, customers who exposed themselves to the media would choose wool and heavy silk instead of the advanced custom fabrics displayed on the show, because the former is more practical and easy to handle, and the cost is no longer astronomical.

This season, the strange effects of metallic luster, such as gold, silver and lead tin alloy, are actually created on the basis of mulberry silk. Although it guarantees the lightness of spring and summer fashion, it does not have any guiding significance for the daily dress of the masses. A handful of customers can wear the fabric of science and technology to match the charm of the model. T shop works are rarely seen in flagship stores, and the early spring and early autumn series are the main force of profit.

Nowadays, Calvin Klein, Gianfranco Ferr, Hussein Chalayan, Viktor & Rolf and other fashion houses are also performing the futurism in the turn. The embarrassing dilemma is still going on, and the eradication is not an overnight effort.

Over the past four years, Prada's exploration of fabrics has entered a white hot stage. Highly forward-looking and surrealistic are the capital of its pride.

However, at that time, when the circles began numerous associations and assumptions about its new round of fabric revolution, Prada suspended the pace of innovation, trying to replace the new fabric with retrospective history.

"I just liberate fashion from the strange circle of overly paying attention to gorgeous appearance," Prada said. "I want to return to the original."

After high temperature rolling, the cotton fabric gradually becomes deformed, shrunk, covered with wrinkles, and metal fibers are inserted to maintain the basic contour. The weaving of silk fabric and gold and silver yarns will deduce the strange effect of gold foil.

In Miu Miu, Prada stressed that "this is a study on European history". Renaissance and Byzantine Empire were included in the thinking category. The rough linen and silk used in the fabric were deliberately worn out, or the extra line of sewing was retained. Compared with Prada, the original concept of clothing was more prominent.

In Paris, the craze for "past" continues to heat up.

Alber Elbaz claims that "clothing should be based on reality". "We all see how fragile and dangerous everything is, so I want to return to the essence."

In the face of the decadent economic downturn, some designers firmly believe that in the grey era, clothing should be appropriate to the tone of the times, while Elbaz calls for a better memory.

In Lanvin, he used a large number of luxurious fabrics such as taffeta, Duchess, satin, and so on. The colors were lemon yellow, orange red, berry purple, water washed blue, coral and other bright colors. The riches and temperament of the costumes and the partial pleat and drooping architectural sense were constructed.

The cocktail dresses with silk and satin splicing on the surface of the fins meet all the fantasies of women's charm of fairy tales.

Whenever speaking of spring and summer fashions, the permeability of fabrics is an unavoidable topic.

In the spring and summer of 2008, chiffon gauze shines brilliantly. Dolce & Gabbana, Jil Sander and Prada show the lightweight, weightless texture of all kinds of yarns such as hard yarn, yarns, cicada and so on. In this season, a new kind of modeling rule, Layers of Light, is derived from gauze, which is as light as air. The purpose is to lay emphasis on volume rendering and create a rich sense of accumulation in the way of stacking and mashup.

This idea has been supported by more designers this season.

In the Stella McCartney, the plucent suits in the size code can be seen with silk net material tights.

In Marni, the stylist Lucinda Chambers plays the color crash game. The grass green weir jacket is cut into round dots of cobalt blue and Tibetan lace suit.

In Vera Wang, the beige Chiffon apron is carefully wrapped in mini dresses with crystal and peen beads.

At Fendi, stylist MelanieWard overlaps laser laser's lace dress and pencil skirt, showing tulip bud underneath.

In Jean Paul Gaultier, lace and crepe yarn are used in swimsuit, underwear and the winding design of tie band / color bar.

With the global warming, the seasonality of fashion is becoming increasingly significant.

It's not new to wear sandals and toes in autumn and winter, so do you wear leather in summer?

There is a Chinese saying called "24 August dressing in disorder". How to dress depends on the information content, attitude towards life and adaptability of the body. T fashion may not need to consider this, because the press conference should still be too small to conform to the essence of its "show".

At the first YSL conference after the death of Yves Saint Laurent, Stefano Pilati temporarily shelved the simple and rigorous French elegance, trying to create sexy, or even more provocative style of champs, and designed a black lacquer windbreaker, which cut the surface into a grid. It had a hollow imagination and a sense of constraint in the cage.

This is a natural reminiscent of Catherine Deneuve's 1967 Belle de Jour, her double personality of the lady and the slut, as well as her classic costumes - black leather windbreaker and coloured flat shoes.