Dior Homme Summer 2014 秀場
邁阿密之夏
Dior Homme創(chuàng)意總監(jiān)克里斯•萬艾思（Kris Van Assche）說：“我想在這一季探索‘簡約的巴洛克'這個幾乎自相矛盾的概念，為大家?guī)磉~阿密的清新海風(fēng)。我想要表現(xiàn)嚴(yán)謹(jǐn)?shù)母拍�，但又不想對其多加限制。我希望�?chuàng)造許多對比效果和選擇；打造不同比例的顏色和線條，一些更為別致而個性的東西。這些東西雖然嚴(yán)謹(jǐn)，但不失輕松和樂趣——演繹更多的選擇和更加的輕盈�！�
本季Dior Homme的設(shè)計重點(diǎn)在于提供更多的著裝選擇和機(jī)會：服裝與穿著場合之間形成鮮明的對比；展現(xiàn)正式與休閑兼具的穿著風(fēng)格；提供男性成衣基本元素和穿著樂趣，并由穿著者選擇展現(xiàn)自我的表達(dá)方式，讓精工細(xì)作的優(yōu)雅感染上了沙灘的慵懶閑適。
比如，將吸煙裝與沙灘這兩種似乎毫不相干的事物和諧地結(jié)合起來，這堪稱是探索這一理念的完美開端。這一季自一開始便將精致正裝剪裁的莊重嚴(yán)肅與休閑動感風(fēng)格的極致輕松和諧地結(jié)合在一起。貫穿整個系列的“短褲西裝”線條是對這種風(fēng)格的完美詮釋——隨性搭配手提公文包，同樣能融合會議室與沙灘兩種不同場合的穿著規(guī)則實現(xiàn)隨意轉(zhuǎn)換。
一些被視為主導(dǎo)男裝風(fēng)格的嚴(yán)格規(guī)則往往會扼殺時尚，本系列意在打破這些規(guī)則的束縛，表現(xiàn)其時尚對位的特質(zhì)。整個系列將拼貼工藝運(yùn)用得恰到好處，讓匯集于此的各種元素找到它們最精確的表達(dá)方式。拼貼工藝的靈感源自藝術(shù)家約翰•張伯倫（John Chamberlain）和他對金屬以及邁阿密裝飾藝術(shù)圖案的運(yùn)用，繪制出全新的幾何構(gòu)圖，塑造出立體抽象畫，可用于表現(xiàn)更多的選擇和鮮明的個性。本季系列采用了適度嚴(yán)謹(jǐn)?shù)默F(xiàn)代風(fēng)格拼貼。其由運(yùn)動裝飾和金屬飾物組成，活潑明快，極具裝飾效果，又給人以正式精準(zhǔn)之感。這種裝飾工藝在有如鏡像迷宮的秀臺上同樣極具外在表現(xiàn)力。
本季成衣集中表現(xiàn)了Dior Homme男性的滿滿自信：他們敢于將更為正式的著裝，如絲緞，轉(zhuǎn)變?yōu)門恤等休閑運(yùn)動裝；將奢華、輕質(zhì)的皮革和羊毛與尼龍和針織面料混合搭配；采用一系列對比鮮明但互補(bǔ)的顏色、風(fēng)格和線條來凸顯個性的穿著選擇。
“這一季我的確采用了大量的對比和反襯設(shè)計，希望能帶來很好的效果”，Dior Homme男裝創(chuàng)意總監(jiān)克里斯這樣說道。“總之，我想在這個系列中回歸人性和樂趣元素。男裝尤其需要一種愉悅、輕松的感覺。同時，輕松并不代表輕佻。”
“I wanted to explore the almost contradictory idea of ‘minimal baroque’ this season,” says Kris Van Assche, Creative Director of Dior Homme. “I wanted an idea of rigour, yet without so many restrictions attached to it. I wanted a lot of contrast and choice; different propositions in colour and silhouette, something more unconventional and individual at times. Something still rigorous, yet light and fun – choice, chance and lightness.”
The luxury of choice and the opportunities of chance are at the centre of the Dior Homme collection this season: the contrast between clothes and the situations they are worn in; the nature of the formal and the informal; the fundamentals and fun of masculine dress and how the wearer chooses to express their wardrobe.
The counterpoint of the tuxedo and the beach – usually seen as worlds apart, yet harmoniously explored here – is the starting point for much of this view. The tension between the height of tailored formality and the ultimate ease of casual, sporting informality is negotiated playfully from the beginning. The ‘shorts suit’ silhouette, which runs throughout the collection, is the ultimate exemplar of this – at times accompanied by a carried briefcase it can also blend and bend the rules of both the boardroom and the beach.
A breaking of the rigid rules and regulations that supposedly govern menswear, yet frequently stifle fashion, informs the contrapuntal quality of the collection. The various melodies that merge here find their most literal expression in the precision use of patchwork that punctuates throughout. Inspired originally by the artist John Chamberlain and his particular use of metals as well as the art deco motifs of Miami, patchwork used as an expression of choice, chance and individuality is both controlled and made contemporary here. Bonded by sportswear finishings and made up of metallics, patchwork is positioned as both playful, decorative excess and formalised precision. It also finds its outward expression in the mirrored labyrinthine nature of the show’s stage set.
The clothing this season has the confidence of the Dior Homme man at its heart: daring to transpose the codes of more formal dress, such as satin, into the realms of casual sportswear, such as t-shirts; mixing the use of luxurious, lightweight leathers and wools with nylons and knits; spanning a spectrum of contrasting yet complementary colours, styles and silhouettes that emphasises choice for the wearer.
“I really started this season with a lot of contrasts and contradictions that I wanted to make work,” says Van Assche. “Above all I wanted to build the human and the fun element back into a collection. Menswear felt desperate for a sense of fun, something light. At the same time if something is light, it doesn’t mean it isn’t serious in its intent.”
