巴黎时装周 2008秋冬男装－John Galliano

在秀場後台，John Galliano穿著一件破舊的皮革夾克，並以骯髒佈滿鬍鬚的面容，開始暗示著這季他所要玩得花樣……，儘管他說他這樣子是愛因斯坦，但我們覺得更像是艾德嘉‧愛倫坡〈Edgar Allan Poe〉，因為這個美國小說家的作品《紅色死神（The Masque of the Red Death）》，恰如其分的可以用來點出本季秋冬男裝的主題「哥德式的幽暗華麗美學」。小說的氛圍是在一個頹廢的年代，人們卻依舊縱情享樂，把自己推向滅亡。就在一列渾身是血的模特兒穿著又短又透明的內褲走出時，John Galliano還自嘲說這季終於可以多賣幾件內褲了（可是熟知這個品牌的時尚人士都知道underwear本來就是他的吸金機器），同時我們更開始懷疑，這季的靈感會不會是來自於Clive Barker這個創作出《戰慄古堡》、《養鬼吃人》等黑暗世界的英國作家，筆下的恐怖小說。

眾說紛紜中，Galliano聲稱靈感其實是來自於英倫都鐸皇朝歷史上有名的那次泰晤士河結冰慶典，來自社會各階層的人都聚集到冰上享樂宴會，百鬼夜行。斑點皮草、黑色絲絨，這些細節說明了或許英國亨利八世的肖像也提供了這個時裝系列不少藍圖。事實上，很少有設計師敢在男裝碰觸華麗與死亡這個主題，因為細節太豐富，也因為在呈現上需要耗費偉鉅的成本。很慶幸Galliano沒有讓這個元素遺失在中世紀的宮廷裡，從前他的boutique中都是以女裝為主，這季他宣布是時候要開些Galliano Homme的男裝大店了，這對男性時尚而言無非是顆深水炸彈，儘管全球景氣低迷，但是從這季的服裝層次而言，這個進化還是被看好的。

January 18, 2008

Backstage, John Galliano was wearing a worn-out leather jacket with a blurry mustachioed face painted on the back. He insisted it was Einstein, but it looked just like Edgar Allan Poe, which worked because Poe’s "The Masque of the Red Death" was as good a reference point as any to launch a dissection of Galliano’s latest fashion delirium. That story’s depiction of a decadent society partying itself to death rang those odd sociopolitical bells that Galliano willfully gongs on a regular basis. He blithely quipped that his underwear licensees would be cheered by a middle passage of bruised, bloodied models in skimpy underthings, but there were those in the audience who saw echoes of Clive Barker's Hellraiser—or Abu Ghraib.

Galliano claimed inspiration from the "frost fairs" of Tudor England, when the Thames would freeze over and the entire community—from aristos to lowlifes—would turn out to party on the river. The designer saw his first group as princelings moving among the people, with their gilded hair and Tudor-look outfits artfully bunched and wrapped from parkas, shearlings, jackets, and coats. None of the mannequins seemed to actually be wearing the clothes they had on, but we got the picture (and if your eye for detail could penetrate the farrago, there were items as beautiful as a jacket with metal-beaded hem and sleeves, and a fur-trimmed parka with oriental dragons scrolling up its sleeve). Holbein’s portrait of Henry VIII was a big influence, apparently, and there was definitely a Tudor volume in the doublet-and-hose effect of big black velvet parkas trimmed in fur.

Thus ended our fashion show for the evening. Then began the descent into Galliano’s Chamber of Horrors—the torturers, the tortured, the carnival in hell that closed the presentation, with the devil's jester minions capering on humanity’s grave. Gee, someone’s gotta do it, and it might as well be Galliano, with a sense of theatricality so acute it makes one wonder whether he’s missed his calling. No, the designer enthused backstage, he's actually selling clothes. "It’s about time we did some advertising and opened a shop for Galliano Homme," he declared pointedly. After a collection like this, it's no wonder he craves a bigger stage.

— Tim Blanks

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