Men's Weekly Report: Cold Paris Is Not A Good Sign.

Please forgive my presumption, but this matter is very important, so I can only express it with "I", which I have been avoiding in the past.

Although fashion has entered a dangerous blind alley as a creative system, as a substitute for genius and huge sums of money, everything is decided and guided in the most insidious way to taste and identify, but I still try to maintain enthusiasm.

I try not to get bored of myself, and don't fall into the kind of "I see everything" mentality. This mentality can lead people to reject this place and produce a needless and paralyzed nostalgia for the good old days.

After all, Azzedine Ala a said, "understanding the past is very interesting, but you must live in the present."

However, although my intentions are good - or perhaps because of these intentions - it is hard for me to feel optimistic.

Moreover, in fashion shows, it is harder for me to feel any form of emotion, even anger.

Most of the time, I really don't care. I feel cold and bored.

This is the problem here and there: Fashion gives us endless and meticulous images, and the endless and meticulous marketing products are printed inch by inch without any emotion.

Without emotion, nothing lasts.

That's why we find ourselves hungry for more and feel empty and unhappy.

Today's fashion is cold and cynical -- when it takes the place of inclusive narration, the word is being abused with enthusiasm and superficiality.

True inclusiveness is a challenging and revolutionary concept if it is brought into the high-end designer's fashion concealment field, but the word itself has lost all meaning.

At present, the only emotion that the fashion industry seems to be actively seeking is the instinctive feeling that drives people to buy.

This is it.

This makes my work as a critic more and more difficult: I rely on the emotions I see to activate my thinking process.

However, without feelings and feelings, I will slow down or even stop, which may eventually lead to silence.

This article may be much shorter than expected.

I can finish it here.

But I will not.

At the end of the men's clothing week in Paris, it is a gorgeous event, with only a few minutes of intense energy, and my passion continues to burn.

Although it has grown into a slow, six day event, Paris has not brought us anything this season.

Fashion trends from a fashion show to another fashion show yearn for a rare light.

In fact, men's fashion topics are shifting from the bold vision of the over standard street clothes to a new formal and steady gloom.

The pendulum of fashion naturally moves from one extreme to the other.

After experiencing street clothes and the lax sportswear and lazy sports shoes, it is time for cold cuts to be cut and returned gracefully.

However, as more and more brands -- Dries Van Noten to Jil Sander, from Valentino to Dior -- introduce new tailoring costumes in a soft tone and loose style, it is found that although the new moderation may attract consumers, it is actually a dangerous fashion show because they end up looking rather boring.

This is the case with Dior. The focus on precise structure is Italian rather than French, almost Emporio Armani products.

This makes some prominent projects not too much to describe.

In this sense, the wrinkle waistbands used to salute the stereoscopic cutting - the advanced customization technology that hangs cloth on the models gives people a feeling of reluctance, even though it looks attractive.

In Louis Vuitton, Virgil Abloh deconstructed the life of Michael Jackson, and sometimes even literally, whether as a man or as a fashionable man, he wore a pleated skirt (similar to Dior Slimane male Slimane of Hedi Slimane), a splicing of the flag in the "We Dior" (a rather obvious analogy) and high-end street clothes.

The cut is very eye catching, but it looks a little awkward in terms of level and size.

But if you remove all the storylines and the "you can do" inclusive narrative, and ultimately all the cool elements of social media, Virgil's Louis Vuitton doesn't look particularly exciting.

There has been little progress from the creative term until now.

The only change - a big change - is in pr.

This show looks cool, cold and hot. It's never a good thing.

People who disagree with Hedi Slimane have injected some real vitality into the current stagnation of clothing, making this slender tie suddenly attractive, and this generation used to wear only sports shoes.

Yes, this is the image of some old fashioned Slimane style. N repeats, it does not push things forward, but it has gorgeous effects, showing that formal clothing can be displayed on T stage without yawning.

In the more rough area of GmbH design, there are more custom-made clothes -- vulgar illegal varieties, mixed with sportswear and blind worship, and become a strong fashion manifesto.

In this case, the form is not even an option, but it is interesting to see that Benjamin A. Huseby and Serhat Isik are experimenting with new areas.

The rising star Ludivic de Saint Sernin is looking for the obvious sexy elements. He has designed a series of tailored coats, slender figures and diamond covered trunks, which are stupid but attractive.

In Alyx, the world of performance and the world of ultra dry, ultra cold and futuristic cut into a series, this is a welcome progress for the brand.

The design of Matthew Williams is more mature and is no longer confined to the underground industry.

He still needs to strike a balance between the active designer fashion and the appropriate designer fashion, but he is on the right road.

So Paris did not bring us anything, but when it brought something to us, it was an outbreak - or a heavy blow.

There are many ambiguous dramas, especially in today's new, if they are gentle, normative aesthetic atmosphere, they resonate.

Undercover's clockwork orange combines Allan Poe and the Rhapsody of drama and reality through time and space.

It is fascinating that it combines the reality of urban clothing (flower shirts, overcoats, pullovers) with outstanding printing and unforgettable dramatic effects.

The first fashion show designed by Jonathan Anderson for Loewe is one of the climaxes of the season: a perfect mix of sportswear and formal elements, with a little metamorphosis and a little exotic sentiment.

This design can be pformed into a multi-functional and great design, which makes you guessing, but it is also true. It is suitable for both fashionable people and real men.

This is indeed a great achievement.

Wakubo Rei locked the guests in a cupboard in a room, making them scream, make them crazy, and put them in black, strong, abnormal clothes, full of historical reference materials and chains.

It is both nihilistic and crucial, and therefore appealing: This is the best rebellion.

But only Rick Owens really touched people's pain.

Owens reinterpreted his inspiration with his own rigorous Aesthetics: Larry LeGaspi - he intertwined with vulgarity and seriousness, control and indulgence, which was exciting, feeling like a commentary on that moment and a way to escape from the present, unemotional and lifeless swamp fashion.

Owens the high heels, thick sole shoes, skin and cloth around him and others are abandoned. It feels like the middle finger thrown into the tradition.

A strong, soul filled person.

This is what it means: soul.

Today, this is more necessary than ever before, or fashion will only make you feel cold.