在这点上,与基乌里的其他一些系列相比,这场走秀没有那么鲜明的激进色彩。从她的第一个系列“我们都应该成为女权主义者”开始,她的口号T恤一直都很有特色,但是这一次,走秀上唯一的文字来自伯纳德·鲁多夫斯基(Bernard Rudofsky)在1944年MoMA举办的第一次时装展上提出的一个问题:“服装是现代的吗?”
(To be fair, Ms. Chiuri did frame the show with an installation by the feminist artist Penny Slinger, which transformed the Dior headquarters on Avenue Montaigne into an eerie watery habitat through which goddesses blinked and an ancient tree twined, so she hadn't entirely eschewed her theme.)
(公平地说,基乌里确实用了女权主义艺术家彭妮·斯林格[Penny Slinger]的一件装置艺术来装饰这场走秀。它将迪奥位于蒙田大道的总部变成了一个怪异的水乡,女神们到处挤眉弄眼,一棵古树枝干缠绕,所以她并没有完全回避自己的主题。)
Ms. Chiuri didn't answer the question, exactly, and her relentless procession of princess dresses, her iteration after iteration of nipped-in waists and molded hips, can seem stuck paying allegiance to another era (the silvery twists in an armor-like lamé column, on the other hand, had a resolutely contemporary cast). But in her insistence on a woman's right to choose — what goes on her body as well as everything else — the designer is very much of her moment.
【巴黎高定品牌,现在由女性主宰】相关文章:
最新
2020-09-15
2020-09-15
2020-09-15
2020-09-15
2020-09-15
2020-09-15