巴黎时装周 2008秋冬男装－Lanvin

當知道要完全接手Lanvin秋冬男裝的設計時，Lucas Ossendrijver早就完全把品牌的包袱拋諸腦後，所謂的法式優雅，其實真正的意義還是在於穿著的態度。設計師說他的靈感是來自於成長發育太快的男孩，身上衣服要不是太大（媽媽想說可以穿久一點所以盡量買大尺碼來湊合），就是太小。表現在褲管長度上最為明顯，短及足踝的九分褲，褲腳仍預留有兩層的褶份，在以往這是蘇格蘭傳統西服的特色，在今天則是Ossendrijver小把戲，仔細看不難發現，有幾個looks將灰色長褲拼接了紫色或墨綠色2至3吋長度的褲管，也都是要呈現同一個概念。

顏色方面，既然已經點名主角是男孩，因此金、銀與閃亮的綢緞面料就是本季的視覺焦點。但是在造型上，卻又是獻給富家公子哥的派對行頭，燕尾服、雙排扣西裝、絲質口袋巾，誰說男孩一定要穿牛仔褲配白T恤呢？只不過，男孩穿的鞋子卻有一定模式：穿脫方便，這也說明了為何本季Lanvin鞋履有大量的拉鍊細節，與像雨鞋般的長靴作品。「亮」是本季Lanvin給人的視覺印象，相信銷售也同樣亮眼。不過如同其他許多以西服為主要賣點的男裝品牌，設計師路線和店面上的retail大貨往往大相逕庭，原因是購買這些老字號的客戶還是偏向保守。但畢竟這是個高調擺譜的新時代，買得到哪有不敢穿，所以我們希望這個系列的looks，等今年秋冬真正來臨時，會被掛到店面上。

January 20, 2008

When he started work on Lanvin’s menswear for fall, Lucas Ossendrijver knew he wanted to go in the opposite direction from the style that has made the collection a fashion editors’ favorite. Previously, all the fabrics were washed to give the clothing a lived-in, louche character. Here, everything was crisp and defined, to fit a new structured silhouette: The double-breasted jacket of the suit that opened the show was almost boxy in the breadth of its shoulders. After the show, Ossendrijver talked about wanting to convey the idea of boys growing up too fast, so that their clothes were always too big or too small. (Raf Simons was also inspired by such moments of transition—do you think these mythical “boys” have any sense of the sway they hold over the vanguard of men’s fashion?) Anyway, that notion determined the dimensions of jackets cut larger and trousers shrunk to fit just above the ankle, often with a ribbed cuff, like sweatpants. It was especially odd in a camel suit.

The “grown-up” clothes—like a long, lean topcoat or a cardigan jacket (worn over a waistcoat, crisp white shirt, and flesh pink silk tie)—looked better. But tradition with a touch of iconoclasm has been a Lanvin signature since Ossendrijver started working under Alber Elbaz at the house, and here, it was simply the shapes that had changed. Elsewhere, he extended the dressy/casual dialogue with coats that wrapped with the ease of a bathrobe, and he pushed the technology of the collection with great success. A coat had the dull, rubbery sheen of neoprene, but it was actually one layer of silk wool bonded onto another. Despite the new structure, coats and jackets had a lightness that was achieved by removing linings, bonding the insides with jersey instead. It was lightness that also made a soft suede slip-on look fresher than the patent sneakers (though it wouldn’t be a Lanvin show without a shiny shoe).

— Tim Blanks

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