基乌里没有确切地回答这个问题,她没完没了地推出公主裙,一而再、再而三地推出收腰和掐臀的造型,这似乎是对另一个时代的忠诚(另一方面,一条盔甲般的金银线绣塔裙上的银色曲线,有着坚定的当代元素)。但她坚持女性有权选择自己的身体和其他一切,这位设计师是她所处的环境塑造的。
Just as Ms. Viard, the former right hand of Karl Lagerfeld who has been charged with carrying on his legacy at Chanel, seemed in her debut solo couture show to be edging the house ever so slightly into a new era: One a little more focused on who wears the pants.
正如卡尔·拉格斐(Karl Lagerfeld)曾经的得力助手维尔吉尼·维亚德(她被委以重任,在香奈儿延续他的传奇)在她的首个高定秀所表现的那样,她似乎把这个品牌缓缓带入了一个新的时代:一个略微更关注家里谁“穿裤子”(也有做主的意思——译注)的时代。
Literally. Pants (cut loose and long in tweed bouclé, mousseline and silk satin, paired with neat jackets or cast as a jumpsuit) dominated the collection. Worn largely with patent loafers or white and black bow-bedecked spectator flats, sometimes generously pleated, sometimes palazzo, once even in the form of sheer skinny knickerbockers (ahem, maybe not) they made for easy walking, even into the most formal of events. See, for example, a lovely white tank feathered in chiffon, atop tiered plissé black trousers, or the shell-pink pajamas with a matching tucked and tufted kimono worn by her bride.
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