iconic runway
那些。我。很喜歡的。
iconic runway
譚。幀憶
TAN, ZHENG-YI
2002/01/17 。
藍莓
鯛魚燒 貓
Vintage 。
六合附設幼兒園 中大附設幼兒園 平興國小 中壢國中 平鎮高中
高師大視覺設計系
iconic runway
Luisa Beccaria Fall 2016 Ready-to-Wear Fashion Show
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CHANEL Spring/Summer 1992-1993
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Haute Couture SS20: Givenchy
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CHANEL Runway Show S/S 1988
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Jean Paul Gaultier Spring 2007 Couture
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Beccaria
uisa
BY ALESSANDRA CODINHA February 25, 2016 The corsetry trend continued today from across the Atlantic, showing up at Luisa Beccaria’s ultra-feminine, capital-R Romantic Fall 2016 show in Milan. Whereas New York designers like Victoria Beckham, Tome, and Hood By Air slashed and ripped and twisted and twerked the waist-whittling classic into submission, Beccaria chose a more literal translation, putting corsets in brocade and tweed over printed chiffon blouses, flowing dresses, and at least one thick-collared knit pullover for an effect that she described backstage as “quite Marie Antoinette.” It was that. It was also a little Swiss Miss (when the blouses fell off the shoulders in a few looks), a bit Disney princess (when the stretch velvet came out), and undoubtedly very pretty, as in the case of a breezy embroidered tulle frock with ribbon trim that crossed under the bust, whose passage provoked the fear that some onlookers, arms and iPhones outstretched, might topple into the front row.
Beccaria had caught an exhibition of the work of JeanÉtienne Liotard at London’s Royal Academy of Arts earlier this year and found inspiration in the painter’s depiction of velvet and choice of colors, specifically his deep teal, saturated turquoise, and powder pink. “These are the colors that look good on women in winter,” the designer said. Some more modern iterations of these hues were on hand, as in the case of a blue algae–color mohair sweatshirt or a windowpane check used in separates and slim-cut dresses, the latter perhaps best advertised on the back of Beccaria’s daughter and codesigner, Lucilla, who showed straightforwardly how one might wear the collection without fear of erring too far on the side of the Renaissance Faire. Lacetrimmed satin ribbon choker necklaces with pearl drop pendants inspired lust among onlookers—some of whom envisioned pairing them with white T-shirts and blue jeans for a look that, coupled with one of the powder blue robe coats (replete with songbird brooches) while not quite out of the court of Louis XVI, could certainly do the school pickup and still convey a hint of romance.
Luisa Beccaria
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Fall 2016 Ready-toWear Fashion Show
https://www.vogue.com/fashion-shows/fall-2016-ready-to-wear/luisa-beccaria
Haute Couture Spring/Summer 1992-1993
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The Englishwoman and her love of gardens are inseparable. Clare Waight Keller’s spring haute couture collection for Givenchy was rooted in her recollections of visiting the garden rooms planted at Sissinghurst Castle by Vita Sackville-West and by reading the passionate love letters between Sackville-West and Virginia Woolf. “It’s one of the most romantic places in England,” Waight Keller said. “I’m quite obsessed by the place.” Famously it was Woolf’s involvement with Sackville-West and dreaming through the Elizabethan history of the Sackville-West family house that inspired Woolf to write her timeand gender-traversing novel Orlando (which, by the by, is the only literary reference in these identity-exploring times that is putting the L into LGBTQIA+ fashion representation).
Haute Couture SS20: Givenchy BY SARAH MOWER January 21, 2020 https://www.vogue.com/fashion-shows/spring-2020-couture/givenchy
Hence: the coordinates Waight Keller used to map out a poetic collection that encapsulated her own strengths in tailoring— her white trouser suits and narrow coats— and the summergarden colors and swirling 3D-petal forms of dresses. But it was also, Waight Keller said, “my own love letter to Hubert de Givenchy because I went into the archive for this collection and looked into the history of the house from the very beginning.” Photographs of the pristine flowerlace gowns he made in the era he designed for Audrey Hepburn were pinned to her inspiration board. Givenchy, as it happens, was dedicated to garden design too.
Waight Keller extracted ideas from the sculptural millinery of the 1950s and the rounded cloche shapes Givenchy developed for demi-transparent umbrella hats that swooped back over the shoulders, amplifying the volumes of tops and ball gowns to bloom with the colors of pansies, anemones, irises, and marigolds. The outside edges of the jacket of a neat black pantsuit were implanted with a halo of gypsophila embroidery. Within the garden varieties of the collection, there was modernity— the multilayered tulle petal-pink skirt overlaid with Chantilly lace and worn with a sheer black T-shirt, for example—as well as all-out romantic fantasy. For years, spring collections at Givenchy were the place for girls to come seeking wedding dresses. Waight Keller finished up her show by sending out Kaia Gerber as the ultimate fantasy bride in an off-theshoulder cut-lace white chemise and a hat so huge it almost formed a canopy under which to take her vows.
CHANEL Runway Show S/S 1988
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BY SARAH
MOWER January 23, 2007
The couture faithful at Jean Paul Gaultier may not have literally expected a full religious experience, but that's what they got, complete with a large puff of incense and a visitation by the saints. From first to last, every model wore a halo. Their faces were painted like plaster statues, their garb inspired by the vernacular devotional art found in local churches throughout the Catholic world. Was it an outrage? Well, not really. Gaultier has treated religion in some very provocative ways, not the least of which was, way back, a tableau of the crucified Christ. But this time, the tone, if not precisely reverential, wasn't calculated to mock. Instead, his ingenious skews on church iconography seemed gently appreciative of its capacity for shining beauty. Not that he wasn't witty about it. What looked like monastic hoods and nunlike wimples were, in fact, integral stoles that spiraled from the back of a chic black dress or a pair of pants (revealing some sexy slices of skin on the way). Lace and crochet-work commonly used to decorate shrines were remade into formfitting gowns. And the colors—faded pinks, cobwebby gray, and Madonna blue—were lifted from hand-tinted holy cards and stained glass. Result? Shorn of the odd bleeding Sacred Heart and communion chalice appliqué, there's plenty in this collection that qualifies as Jean Paul Gaultier couture at its best.
Jean Paul Gaultier SPRING 2007 COUTURE
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https://www.vogue.com/fashion-shows/spring-2007-couture/jean-paul-gaultier