More time to reflect the family and time – this is the reason that Jason Wu said that he decided not to put on a runway show after almost continuously since 2006. The designer was in a “past, present, future” state, pay attention to this season, reviewed his collection. Hanging in the showroom was one Madam Grace -Prepared Dress Fall since 2008, which he had opened at the flat and backwards to reveal his internal construction, one of Wu’s passion. He then took a picture of the dress woven in a jacquard from where he made new clothes (see intake). The opening look, a red strapless number with an asymmetric hem, was made from this cloth.
Wu has been playing with decomposition in the last few sessions, and he hit the correct balance in this dress. The raw-string of raw-stars and the sharpness of exposed darts speak to the flat pattern and is depicted. What you can’t see in the picture is Wu’s “Mile-Fil Epses:” layers of fabric are inserted into hems, which sit together like a paper-skinny pastry or page layers in a book (you are one of you Thoughts can get such fine finishing from the look 11). The material with which a red satin gown with wrinkles was also made was a jacquard, and a picture of the length of the fabric was made in a print.
Prettiness is a Wu signature, but the designer said that he is no longer looking for the idea of perfection that he clung to once. In this collection, the feeling of ease and comfort prevalent. Just below the hips was a Mohair dress opaque, where it became more transparent. It is shown with a drawstring-closure “ghost” blazer, which is the blazer in the filth imaginal pink of the massee-looking wool shiffon that allows the piece to see and appreciate the construction of the piece. Wu applies the words “Frankstein” and “Mortisia” as adjectives of all black pieces, said, a Tim Burton mood. Falling somewhere in the middle of these more goth pieces and shows-stopping appears to be a glenn plaid coat with a circular screen-crushed hem.
Wu is a magnificent fashion historian, and was a subtle tribute to the great people hidden during this offering. A photo print nodded the gaultier, while his peeling paint-like Frock can be seen as a sign for the tear print of Salvador Dal for Elsa Shiapareli. The exposed of the finale gown, revealing horsiting petticoats, carried forward the aroma of a vionnet design without being derived. It was a confident collection that expressed a calm power. And it was beautiful without being Polyina-Ish. “Fashion needs to talk to culture,” Wu said. With their exposed construction, their raw-stringed clothes have a “work-in-tradition” honesty that accepts that life is not correct; However, the discovery of beauty, and impulses to create, are necessary.
