Suzy Menkes：巴黎时装周第七天

Valentino:悠闲旅程

继上季呈现给大家一场富含历史意义的服装秀后，接踵而至的Valentino2015春夏秀，则是一个关于轻快旅行的故事。

Valentino后台的灵感板上贴着Grand Tour的图片-Grand Tour是18世纪英国贵族青年为了追寻西方闻名足迹而进行的文化之旅。

Maria Grazia Chiuri和Pierpaolo Piccioli说，“这场秀不是单纯怀旧，而是要反思过去，展望未来。”

对两位Valentino设计师来说，主题似乎更应该是“再见那不勒斯，我们出发啦！”。秀场以亮丽海军蓝色旅行服装搭配相得益彰的手包来开场。

随后的礼服衬衫则将秀场带回了当年Valentino Garavani为杰奎琳.肯尼迪- Jackie Kennedy Onassis装扮的年代。

即使是服饰趋于考究剪裁和图案精美的现在，罗马鞋依旧是漫步赫库兰尼姆-Herculaneum或者参加派对最好的选择。

之后出场的是其标志性的精致做工并且考究装饰的服装，即便是一件海蓝色或者泡沫白的衬衫看起来都美极了。一件珊瑚红和蓝绿相见的毛衣套穿于长裙上，则让看似休闲实则摩登。如果这场秀可以在此时叫停，它必定会是一场精彩绝伦的秀。一件有着复杂图案的长裙，中间出现了好多次，让人感觉就像两位设计师从未登上一架限重行李的小型飞机旅行似得。

一方面，我尊敬Maria Grazia和Pierpaolo在制作优美服装的方面做出的努力，它们使以海星装饰的雪纺裙既清新又可爱，但另一方面这场秀丧失了Velotino一贯的影响力，它让人真的感觉就像历经一段冗长的旅途。

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Chanel: 女权主义游行

当Channel超模们冲下T台-一不如说是巴黎一条被重新布置了Haussmann 豪华建筑并标上 “香奈儿大道”的大街时，保护女性的喃喃低语就变成了振臂高呼。

这些或身着休闲粗花呢长裤，系着领带；或像油漆泼溅斑点的套装和靴子；或编织套装；或纯白宽松女衬衫的女性大军的领导者到底是谁呢？

领头者正是Karl Lagerfeld，这亦是一次回归Coco Channel时代的服装游行。这些绝大多数都看起来充满街头时尚风的装束同时也是为了致敬一个受人尊敬的独立女性- Gabrielle Chanel，其提高女权的态度，在近一个世纪后依旧有如此强大的影响力。

如果这些搭配了帆布鞋，有着小束蕾丝的服装若出现在今年一月的时装季上，可能你会恍然以为回到了Marie Antoinette时代。

但换言之这一季具有实穿性的服装系列只是Chanel工作室将制衣技巧改变而已。

Lagerfeld 说，“我喜欢街头时尚的创意，并把它变成了切实可穿的服装系列-但这是更高雅的街头时尚。”

设计师指着一件Chanel工作室创作的，看起来有着石膏裂纹一般表面纹理的蕾丝裙以及精美刺绣写着“Ladies First ”或“Tweed is better than Tweet”标语的包包，在开秀前说，“我希望高端服装的制作犹如低廉服装的制作那般容易。”

同样的词句亦出现在超模们在T台振臂高呼时，她们手里挥舞着宣称“Women's rights are more than alright”以及改编自70年代越战时“Make fashion, not war”的标语。

"I just wanted to make expensive clothes as easy as inexpensive ones," the designer continued before the show, pointing to a lace dress that the Chanel ateliers had worked with a surface of cracked plaster, and the intricate embroidery on bags that read "Ladies First" or "Tweed is better than Tweet".

The same messages appeared as the models rioted on the runway, waving placards announcing "Women's rights are more than alright" and an adaptation of that Seventies post-Vietnam slogan, "Make fashion, not war".

起初，我对Karl使用这些抗议标语有点不安，那时在北京，民主游行，尤其为女性在全球享有受教育权利而斗争的游行，差不多是生死攸关的大事。

但之后我想到：这正是设计师抓住了正如法国人所说的"l'air du temps"-也就是时间如空气的精髓。

从时尚的角度来说，这是一个抗议的时刻，打个比喻，对抗任何鸡尾酒或者庸俗的礼服着装。

Chanel流线型的休闲装看起来非常清爽得体，且可穿性很强，尤其是用来搭配中性风套装可以大步流星的那些鞋子。

香奈儿服装万岁-支持香奈儿-因为我们知道他们为此付出了多少努力！

点击查看：2015春夏时装周专题

Alexander McQueen: A Geisha Fantasy

The invitation was placed with exquisite care inside a lacquered card, with the fragments of a Japanese flower print gleaming in pink and black.

The set included two voluptuous sculptures by artist Marc Quinn, one, an orchid, blossoming out of a black lacquered floor, and the other an anthurium.

Sometimes you can capture the fragrance of a show before it starts. And so it was at Alexander McQueen, where designer Sarah Burton said that she had been inspired by a personal collection of antique treasures.

"It is a box of geisha kimonos I have collected for years,'' she explained backstage, as the fashion crowd took a closer look at what appeared to be black and white bead patterns on garments, but were in fact tiny snowballs of silk worked into geometric patterns.

The word "exquisite" kept coming to mind as the models in demi face masks walked the runway on their geisha-inspired lace-up sandals, carrying the weight of Japanese symbolism on light tunic dresses or, just occasionally, a fitted dress with the bodice a cage of leather straps.

If you took the pieces singly, they were all beautifully worked and very different: the flat, stiff silk surfaces, decorated with cups of flowers and squares which gave way to a softer vision of tiny cherry blossoms cascading down an evening dress.

Taken out of the context of the show, it was possible to envisage a black leather trench coat worn with plain black cigarette pants and the tunics used in a more sporty way.

Sarah Burton's adaptation of a different culture was a feat of the imagination: translating the compliant and stylised geisha of Japanese history into a more independent, modern figure, even with a touch of those McQueen warrior women in straps and helmets.

But Burton has to fight her instinct to make a tableau of each outfit, and instead integrate into her shows some of those well-tailored clothes she has designed for the Duchess of Cambridge, or recently, Amal Alamuddin Clooney. Otherwise, McQueen shows are in danger of seeming like drawings and dreams brought to life in cloth with fantastic workmanship - but not really of this world.

Valentino's Leisurely Journey

After a couture show heavy with history and references, the Valentino collection for Spring/Summer 2015 was about travelling light.

The moodboards backstage showed images of the Grand Tour - that 18th-century cultural journey taken by young aristocrats wanting to find the roots of Western civilisation.

"But it is not nostalgic; it was the idea of reflecting our past and thinking about a voyage - there is always a story," said Maria Grazia Chiuri and Pierpaolo Piccioli backstage.

For the two Valentino co-designers, the theme seemed more like "See Naples and fly!", as the show opened with what looked like travel clothes in bright navy blue with appropriate handbags.

They were followed by shift dresses that took the show back to the days when Valentino Garavani was creating the look for Jackie Kennedy Onassis.

Even when outfits became patterned and dressy, Roman sandals were the order of the day for padding around Herculaneum - or hosting a party.

The clothes swiftly slipped into the signature exquisitely worked and embellished fabrics, although a sea-blue or foam-white shirt would lighten the look. A sweater in coral and turquoise, worn over a long skirt, had just the casual attitude to look modern. If the show had been pruned, it might have been a stand out. One theme was the long dress with intricate patterns, and it came out so many times that it seemed that the duo had never packed to travel on Easy Jet, where luggage is limited. On the one hand, I admire Maria Grazia and Pierpaolo for their dedication to making beautiful clothes. One chiffon dress decorated simply with starfish was fresh and lovely.

But the show lost its impact because, like so many journeys, it felt too long.

点击查看：2015春夏时装周专题

Chanel: A Riot of Female First Fashion

The sound of protest rose from a faint murmur to a loud shout as the Chanel models stormed down the runway - in fact, a Paris "street" recreated on four sides with an extraordinary stage set of Haussmann buildings and a street sign that read "Boulevard Chanel".

Who was leading this brigade of women wearing sporty, tweed trouser suits complete with neckties; coats and boots covered in arty paint splashes; knits; overalls, and angelic white blouses?

Karl Lagerfeld was the instigator, yet this was a back-to-Coco parade of clothes. These were the most fashion-friendly looks for an independent woman that the designer has sent out in a while, and a confirmation that Gabrielle Chanel's woman-enhancing attitude is still strong, nearly a century on.

If the dresses had been wisps of lace or been worn with the fancy sneakers that came out in January's couture season, this might have been a Marie Antoinette moment.

But instead there was the appeal of wearable outfits with the transforming skills of Chanel's ateliers.

"I like the idea of street style and to make it down to earth - but it is a chic street," said Lagerfeld.

"I just wanted to make expensive clothes as easy as inexpensive ones," the designer continued before the show, pointing to a lace dress that the Chanel ateliers had worked with a surface of cracked plaster, and the intricate embroidery on bags that read "Ladies First" or "Tweed is better than Tweet".

The same messages appeared as the models rioted on the runway, waving placards announcing "Women's rights are more than alright" and an adaptation of that Seventies post-Vietnam slogan, "Make fashion, not war".

At first, I had a grain of discomfort about the idea of Karl using these protest slogans at a time when demonstrations in Beijing for democracy, and campaigns for women's worldwide education in particular, are literally life and death issues.

But then I thought: This is a designer who catches what the French call "l'air du temps" - what is in the air.

In fashion terms it is a moment to protest, metaphorically speaking, against all those vulgar little dresses for cocktail cuties or elaborate red-carpet gowns.

Chanel's streamlined sportswear seemed refreshingly decent and easy to wear, not least the shoes that were built to stride in a play on mannish loafers.

Hooray for clothes - endorsed by Chanel - that work as hard as we do!

点击查看：2015春夏时装周专题

Alexander McQueen: A Geisha Fantasy

The invitation was placed with exquisite care inside a lacquered card, with the fragments of a Japanese flower print gleaming in pink and black.

The set included two voluptuous sculptures by artist Marc Quinn, one, an orchid, blossoming out of a black lacquered floor, and the other an anthurium.

Sometimes you can capture the fragrance of a show before it starts. And so it was at Alexander McQueen, where designer Sarah Burton said that she had been inspired by a personal collection of antique treasures.

"It is a box of geisha kimonos I have collected for years,'' she explained backstage, as the fashion crowd took a closer look at what appeared to be black and white bead patterns on garments, but were in fact tiny snowballs of silk worked into geometric patterns.

The word "exquisite" kept coming to mind as the models in demi face masks walked the runway on their geisha-inspired lace-up sandals, carrying the weight of Japanese symbolism on light tunic dresses or, just occasionally, a fitted dress with the bodice a cage of leather straps.

If you took the pieces singly, they were all beautifully worked and very different: the flat, stiff silk surfaces, decorated with cups of flowers and squares which gave way to a softer vision of tiny cherry blossoms cascading down an evening dress.

Taken out of the context of the show, it was possible to envisage a black leather trench coat worn with plain black cigarette pants and the tunics used in a more sporty way.

Sarah Burton's adaptation of a different culture was a feat of the imagination: translating the compliant and stylised geisha of Japanese history into a more independent, modern figure, even with a touch of those McQueen warrior women in straps and helmets.

But Burton has to fight her instinct to make a tableau of each outfit, and instead integrate into her shows some of those well-tailored clothes she has designed for the Duchess of Cambridge, or recently, Amal Alamuddin Clooney. Otherwise, McQueen shows are in danger of seeming like drawings and dreams brought to life in cloth with fantastic workmanship - but not really of this world.

Valentino's Leisurely JourneyChanel: A Riot of Female First FashionAlexander McQueen: A Geisha Fantasy Suzy Menkes At Paris Fashion Week Day Seven Suzy Menkes At Paris Fashion Week Day Seven Suzy Menkes At Paris Fashion Week Day Seven