How To Improve The Status Of Advanced Custom Fashion: Rethinking And Rebuilding?

　 There is a strange parallel in the world. In the same week when world economic and political leaders gathered in Davos and discussed how to "improve the world situation: rethink, reestablish and rebuild", world fashion leaders (at least part of them) gathered in Paris to discuss how to improve the status of the advanced custom fashion: reconsider and rebuild.

Of course, in theory, they have been doing this again.

Although the fuse of these two problems is the same reality, both the macro and micro levels are tightening the budget, but the internal motivation of the two is different. Different from "how can we prevent institutions from becoming too big to fail?" in Paris, the question is: "at what point can a certain thing be small to what extent, we have to admit that it has failed?" although the number of advanced custom fashion customers may be - as is claimed by the brand that still makes hand-made clothing brands -- especially in the Middle East, Asia and Russia, the fashion week itself is shortening: it is actually only 3 days now, and only 7 main brands are present. Is it necessary for most customers to be busy with their own affairs and have to visit in person?

The old view will reply, "it is necessary", because the advanced custom fashion is an art laboratory, designers can freely play their imagination, their creativity will gradually affect the ready-made clothes, and then from the clothing to the public dress; what is happening now determines what you will wear in the future. However, from last week's T series of clothing series, it seems that this is no longer the case.

Take Kristen Dior (Christian Dior) as an example, John Galliano (John Galliano) used his nineteenth Century dress designer Charles Worth's design and Lady riding costume as his inspiration. Despite the dazzling display of the brightly colored riding jackets, the floral skirts and the distinctive skirts of Duchess's Satin, the attraction is that they are antiques. These costumes are incredibly true versions of old ideas.

The same is true of Armani Priv and Chanel (Chanel): George Armani (Giorgio Armani) and Carle Lagerfeld (Karl Lagerfeld) have produced lovely and exquisite fashion series, but they haven't introduced anything new to this dialogue. Armani uses the moon as the theme of this advanced custom costume design: curvilinear jacket with tulips skirt or space trousers, a black evening dress with light and shadow, and a gilded white evening dress that mimics the lunar cycle with nearly holographic material. They are very conspicuous, and are as striking as the designer's luxury edition.

Similarly, in Chanel's show, the big news is that T has lost something (the little black dress has been changed into a small pink suit, gold buttons have been replaced by silver decoration); the new idea is that the classic yarn skirt is shortened (for the lively and active people, this is a good idea), the combination of transparent silk or egg shaped evening dress and fine, almost insignia silver embroidery is not a good idea: the effect is very bad.

There is no doubt that these costumes are loved by many: the Anne Hathaway sitting in the front row of Armani show is so excited that you can read her lips -- she screams, "Oh, my God!" That dress! "But it is hard for us to see how these garments will promote the next revolution in the fashion industry; they are more like the exquisite edition of the old clothes. The same is true of Allie Elie Saab: the designer's ability to combine beads, lace and gauze into a red carpet dress is undeniable, but it is also not surprising.

Even the Jean Paul Gaultier's vivid and vivid journey to Mexico looks gloomily familiar: Knitted fur, feathered dresses, embroidered cowboy tights, banded striped suits with gold satin and sequins, and ageing Dombasle, Allie's Arielle Dombasle serenade, just highlights this point. The problem is not sales, but the purpose of fashion - to show on T, rather than to show it to customers in private. Is it really enough to show beauty and artistry without thinking about the future of women's clothing?

It is safe to do so. Trying to convey heavier information may lead to objections, as we saw on Valentino (Valentino) show. Pier Paolo Piccioli, the new designer of the brand, and Maria Grazia Chiuri Maria (Pierre) try to bring fashion into the future through the combination of lotus edge, cashmere, pearls and green leather. Unfortunately, they did not succeed (the wrinkled lotus side Leggings were not pleasing). Nevertheless, at least they tried, and they brought something worth discussing.

Perhaps aware of these risks, it is reported that Givenchy has reinvented the form of show: Kaldor Riccardo (Riccardo Tisci) has displayed the extremely elegant tuxedo with the ostrich hair T-shirt, some outdated long gowns and transparent tights; the Paris Chambre has been playing a big role in trying to turn the purpose of fashion week into a Handmade celebration. In fact, the fashion week is rebuilt.

Therefore, this year's advanced custom fashion week schedule added one day's "high jewellery" display, including Van Cleef & Arpels (Van Cleef & Arpels), Boucheron (Boucheron), Chaumet and so on. Other brands seized this opportunity to show some special designs, including Stewart, Loewe, and Stuart Vevers showed a soft black leather casual wear, coat and handbag. Worth shortened the long dress to a corset and mini skirt; Roger Wei Wei (Roger Vivier), Martin and Martin (Margiela) showed different changes in the same theme.

In Viville, creative director Bruno Frisoni (Bruno Frisoni) uses the fashion as the inspiration of the dream handbag, to hand bag "Antique Lace", "imitation tortoise shell, amber and silk"; in Clements, the designer of the Inacio Ribeirio and Susan Clements (Clair) used the old scarves to splice into very distinctive long skirts and single garments. Margiela centered on the long skirts of 30s, 50s and 80s in the last century, remolding them, turned them into the sleeves of twenty-first Century, and the ancient sleeves embraced the body, just like short underwear. This is exactly the same as Anne Valerie Anne's early show of Valerie Hash. Anne is one of the young designers who tried to succeed in the fashion world with almost no budget. She reinvents the costumes donated by many friends such as Daphne Guinness and Tilda Swinton (Tilda Swinton).

The reason why such group of coincidental group thinking is interesting is largely because it brings us to the fact that all the people are welcome to transform the existing structure into a lovable brand new, both in fashion and financial circles. Think of the recent announcement by Christian Estrosi, France's minister of industry, to improve the situation of the local fashion industry: to set up an institution to provide state guarantees for loans to fashion companies and other innovative enterprises, "Christian said. In other words, banks. Even in fashion studios, there are some eyes on Davos.