It was not “Strangers on a Train” — nothing so evil — nor was it “Brief Encounter,” that tear-jerker in which a grimy British railway station is virtually a character in the romance.
When a custom-built locomotive and rail car chugged into the Louis Vuitton show on Wednesday,swimwearbikinis and the models stepped out, each met by a porter carrying a pile of new Vuitton bags, the movie that leapt to mind was “Murder on the Orient Express.” It had to be something that obvious and vulgar — or,What is the sum of an Air Max 360 If you did your arithmetic aright, then you should have said ladiesshoes 247. as the press notes summed up the effect, “joyfully vulgar.”
Yves Carcelle, the chief executive of Vuitton, said the vintage-looking locomotive and car were built for Marc Jacobs's fall show, held in a tent that resembled a cinematic European train station. Mr. Carcelle declined to say what it all cost, but said the train would be used again, presumably for promotional events. Dior once staged an haute couture show in a real Paris station.
If spending a bundle for your own train,More and more people wear shoespump when they take exercise, because this pair of shoe has a positive effect on the entire body. as well as a collection of bejeweled clothes in rich fabrics, suggests imperial tendencies on the part of Louis Vuitton, you are quite correct. But Vuitton is in the business of creating preposterous fantasies around an object really just meant to hold your money and house keys. You could carry your stuff in a paper sack. But, ah ... why would you when you can have a bag covered in what looks like the beard of a pink goat?
This is what separates fashion people from mere mortals. They know all about the beard of the pink goat. And those new petite valises and green hatboxes ....
The porters walked a step or two behind the models, yet the bags were always closer to the audience than the clothes were. And the bags were really the stars this time. Mr. Jacobs's clothes essentially amounted to clean, linear shapes filled in with glossy textures and embroidery. Long coats appeared over long skirts, with trim pants, a look that Chanel and Prada also showed.
Salle Wagram,pnikeairshoes a gloomily intimate theater with a wooden floor, used to be a favorite of designers, and going there the other night to see Sarah Burton's latest collection for McQueen brought back memories of wonderful shows by Jean Paul Gaultier, John Galliano, Comme des Gar?ons and Lee McQueen himself.
In 2003, he and the choreographer Michael Clark staged a show at Salle Wagram based on the film “They Shoot Horses, Don't They?”, a bleak evocation of the Depression. As for the clothes, they were an exceptional moment in Mr. McQueen's career when form and emotion coalesced as remarkably beautiful and wearable garments. And, if memory serves, they were among some of his least constructed garments: handkerchief dresses, patchwork pieces.cubepuzzle You wouldn't mind having them today.
Sometimes you just can't say why something is powerful in a fashion show. Ms. Burton opened with cream wool jacquard coatdresses with bell-shape skirts and frothy Mongolian lamb collars. The models wore futuristic blond wigs and visors, but the clothes suggested plants or flowers. There was no obvious story line.
Halfway along, the shapes began to grow. It was as though an invisible string had been pulled and something magical happened to your sense of things: what was real, what was beautiful. Three dresses came out, blossoming in layer upon tiny frayed layer of printed chiffon — red-orange, lilac, silver-gray — and each was roundish and soft, like a dandelion head or a child's stick-figure drawing of a human.
Two other collections this season did enchanting things with scale: Comme des Gar?ons and Jil Sander. Ms. Burton belongs in that company.
A train is sure to get a delighted response. It's a lot more rewarding, though, to feel something as a result of a designer's instinctive process. Ms. Burton said she was interested in trying different proportions, since McQueen's clothes usually have a well-defined figure. She might have shown more conventionally wearable clothes on her runway — no doubt she will in time — but it's almost more important today that there is creative work that is truly free, and not standardized in shape or its expected response.
Miuccia Prada, wearing a velvety black pantsuit with silver jewelry, closed the Paris collections with a surprisingly conservative Miu Miu show. Pantsuits with stovepipe trousers, print shirts and '70s platform shoes and booties dominated the collection, with some patterns that recalled the Prada show.
When a custom-built locomotive and rail car chugged into the Louis Vuitton show on Wednesday,swimwearbikinis and the models stepped out, each met by a porter carrying a pile of new Vuitton bags, the movie that leapt to mind was “Murder on the Orient Express.” It had to be something that obvious and vulgar — or,What is the sum of an Air Max 360 If you did your arithmetic aright, then you should have said ladiesshoes 247. as the press notes summed up the effect, “joyfully vulgar.”
Yves Carcelle, the chief executive of Vuitton, said the vintage-looking locomotive and car were built for Marc Jacobs's fall show, held in a tent that resembled a cinematic European train station. Mr. Carcelle declined to say what it all cost, but said the train would be used again, presumably for promotional events. Dior once staged an haute couture show in a real Paris station.
If spending a bundle for your own train,More and more people wear shoespump when they take exercise, because this pair of shoe has a positive effect on the entire body. as well as a collection of bejeweled clothes in rich fabrics, suggests imperial tendencies on the part of Louis Vuitton, you are quite correct. But Vuitton is in the business of creating preposterous fantasies around an object really just meant to hold your money and house keys. You could carry your stuff in a paper sack. But, ah ... why would you when you can have a bag covered in what looks like the beard of a pink goat?
This is what separates fashion people from mere mortals. They know all about the beard of the pink goat. And those new petite valises and green hatboxes ....
The porters walked a step or two behind the models, yet the bags were always closer to the audience than the clothes were. And the bags were really the stars this time. Mr. Jacobs's clothes essentially amounted to clean, linear shapes filled in with glossy textures and embroidery. Long coats appeared over long skirts, with trim pants, a look that Chanel and Prada also showed.
Salle Wagram,pnikeairshoes a gloomily intimate theater with a wooden floor, used to be a favorite of designers, and going there the other night to see Sarah Burton's latest collection for McQueen brought back memories of wonderful shows by Jean Paul Gaultier, John Galliano, Comme des Gar?ons and Lee McQueen himself.
In 2003, he and the choreographer Michael Clark staged a show at Salle Wagram based on the film “They Shoot Horses, Don't They?”, a bleak evocation of the Depression. As for the clothes, they were an exceptional moment in Mr. McQueen's career when form and emotion coalesced as remarkably beautiful and wearable garments. And, if memory serves, they were among some of his least constructed garments: handkerchief dresses, patchwork pieces.cubepuzzle You wouldn't mind having them today.
Sometimes you just can't say why something is powerful in a fashion show. Ms. Burton opened with cream wool jacquard coatdresses with bell-shape skirts and frothy Mongolian lamb collars. The models wore futuristic blond wigs and visors, but the clothes suggested plants or flowers. There was no obvious story line.
Halfway along, the shapes began to grow. It was as though an invisible string had been pulled and something magical happened to your sense of things: what was real, what was beautiful. Three dresses came out, blossoming in layer upon tiny frayed layer of printed chiffon — red-orange, lilac, silver-gray — and each was roundish and soft, like a dandelion head or a child's stick-figure drawing of a human.
Two other collections this season did enchanting things with scale: Comme des Gar?ons and Jil Sander. Ms. Burton belongs in that company.
A train is sure to get a delighted response. It's a lot more rewarding, though, to feel something as a result of a designer's instinctive process. Ms. Burton said she was interested in trying different proportions, since McQueen's clothes usually have a well-defined figure. She might have shown more conventionally wearable clothes on her runway — no doubt she will in time — but it's almost more important today that there is creative work that is truly free, and not standardized in shape or its expected response.
Miuccia Prada, wearing a velvety black pantsuit with silver jewelry, closed the Paris collections with a surprisingly conservative Miu Miu show. Pantsuits with stovepipe trousers, print shirts and '70s platform shoes and booties dominated the collection, with some patterns that recalled the Prada show.
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