Dramatic Cyberpunk Edgerunners Wins Anime Of The Year At Crunchyroll Anime Awards Decor Poster Canvas
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Related Articles: Demna has had his own experience of war—he fled Georgia with his family when he was a young boy of 10. Being gay compounded his struggles. “I’ve felt like I’ve been punched in my face for being who I am,” he said, but “you have to stand up and continue walking, kind of like this crusade of discovering who you are and defending that.” He called this a “very me show.” It was heavy on grafitti’d hoodies and ravaged jeans, but there was also evening wear, in clingy T-shirt jersey or glamorous pleats. These were survivors against the odds, a point Demna made by sending out men clutching baby carriers propped with eerily lifelike dolls. “Naturally I’m an optimist, but I cannot be very optimistic right now,” he said. “I think this show actually expresses that very much—the music, the set, it spoke about the moment in which we live.” The soundtrack by BFRND was actually quite terrifying. To finish, Demna sent out a dress made from cut-up parts of black Balenciaga Lariat bags, a make-do-and-mend masterpiece that also pointed up our nasty overconsumption habits. Remember, he sent every last piece through the mud, a “sacrilege” by luxury standards. Using fashion to comment on the crises that plague us is a tricky business. Of course Demna wants us to shop, and of course his bosses do, too. But when it comes time to spend, my money’s on the guy who looks around and is terrified, not the sleepwalkers.
Actual Cyberpunk Edgerunners Wins Anime Of The Year At Crunchyroll Anime Awards Decor Poster Canvas
- With a winning spring collection Ladislav Zdút and his team are redefining power dressing for today. Their iteration—executed in Nehera’s signature neutrals and enlivened with strokes of persimmon, yellow, and royal blue—is softly structured and smart, with interesting textures and asymmetries. A blazer has one lapel and uneven seams; a two-piece jacket can be worn as half a garment or a whole. Nicely styled, the lookbook makes the argument for layering shirts and wearing skirts over pants. The collection takes its title, Powershift, from a 1990 book of the same name by sociologist and futurist Alvin Toffler. Throughout history, says Zdút, women have traditionally adapted elements of menswear, particularly exaggerated shoulders, when assuming positions of power; this season he wanted to “underline the new feminine confidence,” and demonstrate that power “need not necessarily be expressed by exaggerated shoulders.” One of the most pleasing aspects of this offering is how beautifully it reconciles its contradictions: It borrows functional elements from menswear and uniforms, and uses them to express femininity; catering to city dwellers, it takes inspiration from nature. (The lovely floral print is a collaboration with Juraj Straka, a textile designer from Bratislava who is based in Antwerp.) Effortless is an overused word in fashion, but that’s the vibe of this breezy collection.
- Beckham’s lifelong fashion education has clearly taught her a thing or two about subversion. If she’s demonstrated her taste for the “wrong” and “weird” before, this collection flexed a side to her practice that felt like virgin soil. Next to coats with edges cut to reveal their construction and trompe l’oeil leather jackets with the imprint of lapels, tailored jackets had been deconstructed at the back and reduced to their core frame, exposing the naked body. It was an intelligent (and quite Belgian) way of cutting that suited Beckham’s codes and pushed her into a game played by the big guys. “I can’t believe it’s finally happening. I’m very proud of where we’ve come,” she said of her Paris adventure. “With this show, I have enjoyed every single step of the way. When you think of everything we’ve been through, to be doing a show in Paris as an independent brand, it’s a really big deal. It feels like a real moment.” Beckham’s French fashion debut was an ambitious, dramatic, and quite sexual experience, which spoke volumes of her excitement for fashion. And on the day-to-day hamster wheel of Fashion Week, dedication like that is really quite rare.
- Surf culture and beach life continually fascinate the fun-loving Dean and Dan Caten. But why surf and not, say, tennis or soccer or just plain old swimming? “Because surf is sexier, cooler, hotter,” they said backstage before their spring show. “It’s about freedom, strength, being in the ocean. There’s lots of mystique around it—ideas and lifestyle, images, music, a whole lotta culture. Very inspiring.” They enjoy surfing when in Mykonos, which just adds to their love affair with the swells. Surfers have a deceptively laid-back aesthetic, as they’re actually quite fastidious about their looks. For spring, the Catens went for a surfer girl who manages the layered styling to a hilt, elevating it to an effortless fashion form as easy as a lazy suntanning session on the beach. Transparencies were played out to express the leggerezza, that lightness of mood the designers wanted to convey. Tulle mesh, PVC, chiffon, filmy lace, and a whole panoply of sexy sheer fabrics were turned into flares, wrap skirts, leggings, blazers, and XXXL board shorts juxtaposed in an apparently haphazard jumble. The silhouette was kept lean and unfussy despite the riotous styling. Bright colors and shiny liquid surfaces (sequins, glazed nylon, stretch satin) had a tonic, vital vibe, tying the layered lineup of individual pieces into a cohesive mash-up—which, while sounding oxymoronic, gives credit to the Catens’ bravura in mastering the art of orderly, neat, sexy chaos.
Typical Cyberpunk Edgerunners Wins Anime Of The Year At Crunchyroll Anime Awards Decor Poster Canvas
During the course of the show, he started to introduce bright saturated colors as a contrast—electric blue, acid green, emerald green—which looked at their most dazzling when deployed for the dream-it-and-we-can-make-it technical marvel of his pleated sequin pieces, such as a shrug it on coat, or a sweeping floor-length backless evening dress. (How often does one see pleated sequins, particularly when the folds run on the bias? Like, never. Difficult to do doesn’t even begin to describe it.) Of course, what was going on here wasn’t some old school narrative of a shift from one trend to another: Nothing so first degree. What Piccioli has triumphed at these past few years is the way he has challenged himself, the house he oversees, and the industry itself, to keep thinking differently, respectfully, democratically. (Consider how, at the end of his show, he led the models out onto the street, so the crowds outside could see the collection.) He has proven himself to be a particularly sensitive and thoughtful protagonist. His spring collection was dubbed Unboxing, as in thinking out of the…. Such as: Refuting the notion he could only work with uberstar models. The cast here was almost all unknowns, some of whom had never walked a show before; the better, Piccioli thought, for the audience to focus on who they are as individuals and not on their status in the industry. (Which might have explained why a few found the heels tricky.) Or challenging the orthodoxy of fashion speak, in this case, the term minimalism. Backstage, Piccioli laughed at the idea that sequins couldn’t be thought of as minimal. For him, he said, it all came down to the idea of how you designed to be reductive without taking away. Being behind the scenes gave another insight into what was going on here. Pinned up above a moodboard was a quote from Richard Avedon (Piccioli had recently visited the late photographer’s ongoing retrospective in Milan.) “My photographs don’t go below the surface… I have great faith in surfaces. A good one is full of clues,” Avedon said. In other words, in Piccioli’s view, a designer can only give their vision. The rest of us have the right to interpret what he presents, to look further and deeper, in whatever way we like.
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