巴黎时装周 2008秋冬男装－Junya Watanabe

Junya Watanabe的作品展在他精密的計算之下，除了邀請函細心設計之外，秀展演出地點也是經過縝密考量之下的決定；選在歷史悠久的巴黎古老證交所，就是為了要浸淫在那股懷舊氛圍中。及臀單排扣西裝外套，運用海軍藍/淡灰藍/深炭灰與褐色等中庸沉穩色系、像似縮水般的緊身收腰剪裁、股票經紀人貫穿的條紋襯衫、以及私立高等學府制服的窄版領帶，又世故又學究的風格，就像是東京版本的美國設計師Thom Browne般，看似矛盾解離但卻有趣好看。

如此重構既有傳統風格的顛覆手法，完全表現在顯明的預備大學先修班的學生樣貌穿著上：足踝反摺的寬鬆長褲、色彩明媚的80年代棒球外套style轉化而成的學生西服外套、在正式中展現反判忤逆心態的高聳帽沿；就以設計師一慣風格來看，今次的造型堪稱中規中矩、沒有特別強烈的搞怪手法、相當自制的概念表現、不斷重複的三排扣緊身西服、短及腳踝的窄管丹寧褲、刻意強調功能取向的設計，似乎倒也相當符合目前趨向。

當然Watanabe總是擅玩的元素也不著橫跡的穿插其中，像如編織拼接在運動上衫的背部、粗呢縮絨的窄身外套與套頭上衣、寬窄不一的條紋圖樣、以及渦紋花呢的羊毛外套等；不跟一般主流設計師同流的Watanabe似乎怎麼玩耍嘲弄潮流都讓人感到順氣，雖說像極英美私校學府的穿著方式，但其實外表本質裡都更像七零年初電影宗師Stanley Kubrick的”clockwork orange”裡，叛逆變態的不良少年模樣，行為乖戾瘋癲卻看來端莊有禮，如此微妙古怪而無法難以描繪，是超現實還是入世，就要看消費者的sense層次與喜惡方向到何種方向程度了；至少就時尚角度來說，Junya Watanabe的作品依舊非常精采迷人！

January 18, 2008

Parsing a Junya Watanabe collection involves careful consideration of the invitation and the venue. The former was a precisely bifurcated card, the latter was La Bourse, the historical Paris stock exchange. And, this being Watanabe, there'd have to be some element of Americana in there somewhere. A stockbroker with a split personality? Well, at a stretch, there was a sense of a buttoned-down-fit-to-burst individual in outfits as tense as a shrunken navy jacket worn with a shirt in a banker's stripe and a college tie. It was very Thom Browne-does-Tokyo. But equally, the clothes had a twisted preppiness that was the latest expression of the merry hell Junya plays with American dress codes. So glen plaid slacks boasted carpenter's loops, and a blazer sported the sleeves of a baseball jacket.

In most Junya shows, there's a moment when the planet shifts sideways and his skewed vision takes flight. It didn't happen this time. The appearance of random buttonholes, stitched in red, promised the insinuation of utilitywear into the formality of tailoring, but there wasn't really much of a buzz to be derived from that (besides, Tomas Maier had already visited this notion in Milan). Such detailing did, however, suggest that Junya was plucking memories from his repertoire: the knit back on a blazer, the shrunken duffel, the racing stripes, a jacket's paisley pajama trim. But the show was too subtle to be some kind of greatest-hits collection. In fact, it was actually repetitive enough to feel like the designer was treading water, temporarily detached from the peculiar disembodied nostalgia that makes his menswear so memorable.

— Tim Blanks

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