Huishan Zhang holds a filmography of titles, which he has seen in a “notebook” in his head, whenever it feels right, it is ready to pluck references. To fall, it was Doll’s valley He took inspiration, both directly translated both-as Jacquard and as the film’s cinematography and set-set-evacitive-and indirectly as an approach. “The costumes are truly divine,” he said in a preview. “They touched me as a fashion designer.”
Concentrated around the “simplicity and modernity” of the 1960s, in relation to the silhouette and soul, the collection took the Huichan Zhang woman from a tweed suit pinned with pearl and crystal brooch, drop-hem denim clothes, and her calling On the card: Evening work. The designer’s trademark ornate duchess satin dresses were ready for a red-carpet outing, as there were clothes in sequins and neoprene-there was a success for Zhang in the vehicle-and many new laser-cut embroidered clothes were designed Many are supported with tulle. After his suggestion, there were dark accessory fingerless leather gloves.
Technology is always in the heart of Zhang’s offerings, and he was most excited about an impure fur that was chopped and manipulated to follow the wings, which were scattered in a cream coat (for summer Paddder inward) and a powder pink dress. He saw a black-white picture of a pointed-blunt punk as a reference to the styled winged bonts with these works.
Nodes for their London customers – some of which were seated in Dorchester to watch their shows in Dorchester, with the Jefferson Airplane (a fitting environment and their “rebel yet elegant” with a fitting environment for the Fall Muse and Soundtrack Was opened with “white rabit”. Transparent raincoat, tweed and evening gowns It is worn above.
