Even in this ever-changing and constantly moving forward era, it is not an outdated thing to preserve the wisdom and crystallization of the masters and not forget to review the past and learn the new.
In the long history of mankind, the brewing of an event and the birth of a work are the exquisite gears of the carving era, which contain unparalleled significance.
In this year of renewal, in this spring of renewal, three fashion shows taking place around the world take you back to the creations and inspirations of the 20th century that deserve to be remembered, appreciated and cherished.
The Museum of Art and Design in New York will take visitors on a journey to explore the ephemeral and meteoric "paper fashion" culture of the 1960s.
In 1966, the Scott Paper Company promoted and advertised the novel dress, which was printed with exaggerated text and patterns and made of synthetic fabrics such as man-made fibers.
On the other hand, in the 1960s, when the space race was full of countries, special materials shaped like paper, inspired by "space and aviation", were used in the production of clothing. Combining the very popular A-line skirt and geometric printing, the novel and interesting design immediately attracted everyone's attention.
Bold, bold patterns were used to set off the age of consumerism.
Wearing bright colors and novel materials of paper dresses, people linger in one party after another carnival, and these clothes are just like the actual paper is used only a few times before being eliminated, quite a sense of fast fashion.
When it comes to tailoring and silhouette design, in addition to the current popularity of A-line skirts, paper fashion also presents other classics and trends in A unique way, such as the bikini and other vacation style clothing.
Andy Warhol's famous can of Campbell's soup was also used in the design of the dress.
This time coincided with the popularity of Pop Art, and people immediately combined fashion with contemporary culture.
As a leader in pop art, Andy Warhol's works are both approachable and distinctive.
The Second Industrial Revolution and the economic recovery after World War I led to the rise of consumerism.
Warhol painted the most common objects and pictures in daily life with his unique personal style, and then repeated the pattern made by a large area, which was greatly welcomed after its launch.
One of Warhol's sources of artistic creation and inspiration is the mass production of artworks and the "civilianization" and "communization" of the right to enjoy art.
At the Fashion and Knitwear Museum in London, more than 60 exhibits take the audience into the new trend and creativity of Pop art and Andy Warhol in fashion.
During the recovery from World War II, printing technology was often used in the production of clothes and skirts.
Butterfly printing, born in 1955, also appeared frequently in Warhol's later creations, or similar colors and shapes can be seen in other works, and butterfly has become a classic work of Warhol's textile printing design.
The border print fabric of an acrobatic clown and a horse showcases Warhol's talent as a textile designer, and a series of somersaults of a circus clown form a perfectly repetitive pattern that is smooth and coherent overall, and can nicely embellish a garment's creases or the curvature of a skirt.
Another prominent design in the exhibition is the "Ice cream dessert" pattern. Known for his love of desserts, Warhol was also a regular at the legendary New York bistro/cafe Serendipity3.
In 1961, Warhol created this image to pay tribute to the dessert shop he frequented. The slightly mottled lines are paired with the lovely ice cream ball color, which is self-evident in the freshness of summer and the sweetness of ice cream.
If the spring/summer collections of 1997 were to be taken as a warm start, a number of talented designers finally emerged and shone in this amazing season; In the ensuing haute couture fashion weeks, the newly appointed creative directors of various brands brought surprises and classics to the next level, and 1997 was also hailed as an important watershed in the history of modern fashion.
At the Palais Gallera Fashion Museum in Paris, the exhibition is divided into four parts: the 1997 Spring/Summer ready-to-wear collection, the 1997 Spring/Summer Haute Couture collection, the 1997 autumn/Winter Haute Couture collection, and the 1998 spring/summer ready-to-wear collection; With the time sequence of the fashion show and the story running through it, the giants and masterpieces that have shaken people and brought ripples to the fashion industry are brought back to the public's vision.
Part I: 1997 spring/Summer ready-to-wear collection
The appearance of Comme des Garcons' "Body Meets Dress, Dress Meets Body" series breaks the world's consistent aesthetic standards. Different from emphasizing the curves of the body or emphasizing the harmony of proportions, it destroys and reorganizes people's accustomed concepts. Then it presents a liberation of "beauty". Raf Simons' "Black Palms" series challenged the general public's expected masculine image of men, and "legalized" slender and feminine masculine traits; Martin Margiela's "Stockman" series completely deconstructs clothing, seemingly matching semi-finished clothes, leaving decoration and complicated needs behind. Designers such as Ann Demeulemeester and Yohji Yamamoto have also brought subversive masterpieces in this season, and the aesthetic is no longer just a single standard, and there will always be stars who live up to expectations to bring us more moved and shocked.
Part Two: Spring/Summer 1997 Haute Couture collection
When Alexander McQueen was only 27 years old, he became the new creative director of Givenchy, and his first show "Search for the Golden Fleece" after taking office brought new impact and no small controversy. Following Jean Paul Gaultier's first haute Couture season with his eponymous label, "Enfant Terrible" focuses on classicism, originality and elegant design. As the newly appointed creative director, John Galliano, with his unique views on Dior and his own gorgeous style, began one classic work after another during his tenure at Dior. Thierry Mugler, who is equally talented, shone again with his new series "Insectes" at the couture fashion show.
Part Three: 1997 autumn/Winter Haute Couture collection
Coming to the haute couture fashion week of autumn and winter, Gianni Versace, with his always magnificent style, combined with beautiful silhouette and religious elements, depicted the sacred and soft image incisively and vividly, and also drew a conclusion for himself with an unforgettable haute couture fashion show. On the other hand, after the baptism of praise and doubt in the last time, the new season of McQueen's "Eclect Dissect" once again presents a shocking subversive work.
"The first fashion show was for Givenchy, and this time is for myself", McQueen combines and mixes his amazing talent with devastating experience, and also brings the audience into the complex and eye-opening beauty of disillusionment; Christian Lacroix Fashion House is celebrating its 10th anniversary, and as the father of luxury and Baroque style, Lacroix has been presented in a grand and gorgeous way in this memorable season.
Part Four: 1998 spring and summer clothing series
American designer Jeremy Scott, through the new series "Rich White Women", discusses the pain and struggle of body shaping and plastic surgery through modern medical beauty, and has gained great attention at one stroke; The period's love of nostalgia was reflected in a dark, even Gothic romanticism, exemplified by designers such as Olivier Theyskens, Veronique Branquinho, and Josephus Thimister; As the new creative director of Chloe, the 25-year-old Stella McCartney took over the brand from Karl Lagerfeld and fully demonstrated her talent.
For her first season on the job, McCartney, who is a vegetarian, refused to use animal materials such as leather and insisted on cotton and linen, which opened a new chapter for Chloe with a light and natural style.
