TheodorePaul
Geregistreerd op: 13 Aug 2020
Berichten: 3
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 Geplaatst: 13-08-2020 04:14:46 Onderwerp: fila sandals |
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Their laughing faces sit alongside Irving Penn's icily perfect fila women shoes image of his wife, Lisa Fonssagrives, veiled above a cocoa-coloured Balenciaga taffeta dress from 1950. "I read this story about him draping fabric on a dummy of an old client, " says Gvasalia, "who had this posture... " He hunches over, arching his back into a hump. "I remember Givenchy saying he was there and he saw it happen this old woman suddenly became straight. He changed the posture and the attitude by this architecture of draping, how he worked the volumes. For me, that was really the most important part. The source of inspiration. How do we do that today?" Gvasalia talks a lot about attitudes when speaking about his Balenciaga.
Gvasalia too is obsessed with the notion of designing a wardrobe: Mona would have baulked at his though, at a downpuffed jacket, an anorak, a billowing tentdress in jarring florals, or a beaten-up, 70s-style leather trench coat. Even when he went conventional and offered embroidered evening dresses, with custom fabrics created by Schlaepfer, they mimicked cheap evening gowns that Gvasalia and his team had found in discount Paris stores, themselves alluding to the idea of couture stereotypes. But there is a similarity in attitude between Gvasalia and Balenciaga. A connection fila men shoes in approach a parka cut to fall off the shoulders, intentionally, and frame the décolletage like a grand opera coat; suits with jutting basques emphasising a handspan waist; and a series of garments seamed into a distinct curve, imitating the concave-torso stance of Fonssagrives et al in the imagery that still cements Balenciaga's identity in contemporary consciousness. "Clothing cannot be static, " comments Gvasalia.
Not, Does it remind fila shoes for men you of Balenciaga? Can it stand? Do you understand why it is Balenciaga? It can be jogging pants, but why?" He's speaking to me well after his debut, from his new office in the Hôpital Laennec. It's now April and after that first show, and the overwhelming reaction (varying from glowing to incandescent in praise), it's easier to make a case for Gvasalia and Monsieur Balenciaga sharing an approach without seeming like a Vetements evangelist. Although there are many of those, the symbolism of Paris fashion's oft-perceived great white hope showing in a church was lost on few. Like Balenciaga, Gvasalia can sketch, but doesn't. "It's so two-dimensional, " he says, deadpan, before reasoning that, with the current schedule of work, it's also simply not possible.
Gvasalia has a point he's already knee-deep in preparations for the next Vetements show fila grant hill (a deadline jumped forward to July, as part of the Haute Couture season, rather than the usual October), as well as his first Balenciaga pre-collection and the house's first ever menswear catwalk show in June. I wonder if, perhaps, you have to destroy a fashion house to make a new one; if Gvasalia has to tear down our preconceptions about Balenciaga's refined, aristocratic but formaldehyde-preserved mid-century pedigree in order to progress? If it's necessary for him to tear Balenciaga apart at the seams, like that nylon windcheater, to create something new? But the house is already unrecognisable from what Cristóbal Balenciaga created a couturier who refused to compromise or commercialise, who bowed out rather than kowtow to the burgeoning world of ready-to-wear, declaring he would not prostitute his art.
In many cases, this is accompanied by a video of the creation process so you can see how these styles were made. It's such a smart idea, giving the visitor a proper insight into the importance of the techniques Balenciaga pioneered, which also showcases the talent of the fashion gallery staff at the V&A who are undoubtedly experts in their field. Famously aloof, the V&A attempt to break open Balenciaga's process with a series of early cases looking at design beginning with fabrics which, unlike most approaches in female fashion, came before the sketch as Balenciaga, with his tailor training, found that the choice of material would determine how it could be cut and shaped.
This taps into one of the V&A's core arguments, that Balenciaga's approach has left a lasting fashion legacy, and in these carefully chosen pieces, you can see how his designs combined a sense of past, present and future that give them a timeless appeal. Even now a semi-voluminous green dress near the start of the exhibition that uses ballooning to create three layered sections down the body, with a puff sleeved cape in the same hue, looks slightly fila sandals futuristic, and could be something one of the more Avant Garde starlets might wear on the red carpet. But at the same time, it all feels like the 1960s and, further back, references the empire-line fashions of Regency England. Balenciaga's interest in architecture also becomes increasingly clear, whether it manifests in the ruched sleeve of a tan coat with one single piece of ribbon holding the sculpted layers of material in place so they drape the arm, or in the lasting design of the babydoll dress introduced in 1958 that [img]http://www.muitotosto.com/images/shoes/fila women shoes-051yyw.jpg[/img] subverted subverted the idea of designing specifically for the female-shape. |
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