巴黎时装周 2008秋冬男装－Dior Homme

這是Kris Van Assche接手Dior Homme的第二張成績單，有別於前一季春夏用presentation的形式，這季的正規大秀總算找回法國服裝老字號的時尚氣勢。在經典大廠旗下工作，又同時擁有自己同名品牌的設計師，在每季發表時都會遇到的問題就是：「他究竟把好料盛到哪個碗裡面？」很明顯的，Van Assche把所有心力都用來琢磨Dior Homme了，相較於本季細節精湛的Dior男裝，他自己的孩子簡直像是半夜12點被打回原形的灰姑娘。畢竟更多眼睛是在看，他如何玩出超越前人的作品與態度。但也或許，Van Assche並沒有打算要「超越」或改弦易轍，看得出本季男裝系列還是沿襲Slimane的sharp look，而這些非專業模特兒的男孩，以一種面無表情的步伐昂首走著，這也讓我們注意到了Dior Homme的第一個大躍進：baggy style的闊綽寬褲！

對於西洋古典文學有研究的人會知道，哈羅德布魯曾經發表著名論文指稱莎士比亞是所有文學的遮蔽天使。套用21世紀的時尚界，Hedi Slimane對新男裝的震撼彈也似乎餘塵未消，無論是遷就品牌或者英雄所見略同，品牌經典四原色：黑、白、灰、紅被一次用足，沒有增加也沒有減少。雖然從面料和剪裁看得出這個系列作工精細，但是就創意而言，只是把蜜蜂圖案窄版領帶，換成蝴蝶造型的領結，這種料未免也太粗糙乏味了。

January 20, 2008

Does Kris Van Assche feel like a fashion Cinderella when he wakes in the morning? It was decreed that the Dior Homme shoe fit him, and he was granted one of the twenty-first century’s most powerful, influential legacies. But how can he prove he’s more than a pretender to the throne? With great caution, evidently. With this, his first runway show for Dior Homme, Van Assche cleaved close to the original blueprint: a chiaroscuro spectacular featuring live music and a cast of nonprofessional model boys corralled on the designer's travels. Clothing-wise, he opted to explore a couple of themes until there was simply nothing more to be said about them: an outfit composed of a tiny jacket and trousers with a legginglike cling, and a shirt-and-pants combo that featured a bottom half of multi-pleated harem-pant-like extravagance. Hammer pants, they were called in the early 1990s, after everyone’s favorite—at the time—rapper. Except that Van Assche's interpretation was more MC Lestat, after everyone’s second-favorite vampire.

Van Assche clearly has great faith in this silhouette, because he's used it before. And maybe it is in the DNA of the brand, given David Bowie's brief flirtation with the Big Pant (the Thin White Duke was a seminal inspiration for Hedi Slimane, in both baggy and tight-trousered phases). But even that can't shift the uncomfortable echoes of an early eighties Montreal/New York boutique business called Parachute. Which led on, in this case, to other discombobulating New Wave-isms: the patent leathers, the Eldritch footwear, the curious geometries of hems pointing this way or vents stitched that way. In his show notes, Van Assche evoked "the solemn advance of a Shakespearian hero," which possibly accounted for the Hamlet-on-Mars feel of a slashed doublet… I mean, sweater and hose. Those notes hinted at an acutely self-conscious need to inject portent into the collection, likewise the unremittingly dark palette. That leads one to the obvious solution: Lighten up. There were gems in the murk, however. Van Assche presented some beautiful, poetic shirts; a barathea coat had a sleek (okay, vampiric) glamour. Maybe next time, the sun will be shining.

— Tim Blanks

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