Is There Any Future For Advanced Custom Fashion?

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 as his designer's 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 Lagrange (Karl Lagerfeld) have produced lovely and exquisite fashion series, but they have not 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 pparent 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 about that.

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, a serenade by Allie Dombasle Arielle Dombasle, 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.

The brand's new designers, Pier Paolo Piccioli (Pier Paolo Piccioli) and Maria Grazia Chiuri, try to bring the fashion into the future by combining the use 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 Tisci (Riccardo Tisci) has shown the extremely elegant tuxedo with matching ostrich hair T-shirts, some outdated long gowns and pparent tights; the Paris Chambre has been playing a big role in trying to pform the purpose of fashion week.

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, which showed the butter like 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.

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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 pform the existing structure into a lovable brand new, both in fashion and financial circles.

Think of the recent announcement by the French Minister of industry Christian Estrosi (Christian Estrosi) of improving the status of the local fashion industry: the creation of an institution to provide state guarantees for loans to fashion companies and other innovative enterprises.

In other words, banks.

Even in fashion studios, there are some eyes on Davos.