米蘭时装周 2009春夏男裝－Roberto Cavalli

有時候，或許時尚設計師不要公開宣布他們的設計靈感比較好…就像這季的Roberto Cavalli春夏男裝，所有哪些喜歡Morocco風格、熱愛Paul Bowles的作品或Devendra Banhart的音樂的人，怎麼可能不直接聯想到這又是一場華麗的冒險，點破之後，似乎就流失了所謂天馬行空的原汁原味。於是穿泳褲的男孩、波希米亞旅人的頹廢裝束、羅密歐與茱麗葉舞台劇的彩排裝……這片大雜燴的裝飾風格，立刻就變成令人費解的慾望集中營。

或許Roberto Cavalli老先生認為到了21世界的男人，真的就要愈來愈敢穿奇裝異服。但他沒有理解到他是時尚趨勢的創造人，而不是跟隨者。這些色彩斑斕、充斥花卉印刷的風格已經過去很久了，會再回來（意思是從暗夜酒店回到正式酒會）嗎？沒有人知道。但這系列也不是全然的俗麗，像棕櫚樹葉圖案的牛仔褲、日落風景的絲絹襯衫、天空藍湖水綠的上下身清新搭配…都非常適合Roberto Cavalli男人在夏天裡當個獵豔高手，至於要不要獵艷，就看個人了。

June 22, 2008

Sometimes it’s best if designers don’t admit to their inspirations. Anyone who loves Morocco or the written works of Paul Bowles or the music of Devendra Banhart could rightly take exception to Roberto Cavalli’s adopting their allure as the wellspring of his latest collection. In this case, they were an of-the-moment hodgepodge to drape around the show’s concept, “Bohemian Safari"—and besides, by the time the evening-gowned Natasha Poly followed an army of bathing-suited boys onto the catwalk, any notion of bohemia or safari had been well and truly obliterated.

That doesn’t mean there wasn’t extreme entertainment value in the Cavalli presentation. Open your eyes, let your mind go, and you could almost have been looking at a dress rehearsal of Romeo + Juliet: The Reunion. Florentine artisanship is in Cavalli's blood—one taste of his wine, olive oil, or chocolate is ample proof—so he is perfectly capable of delivering twenty-first-century Renaissance wear: something as convincingly arcane as a brocade blazer or a blanket coat with woven fur lapel. And, of course, anything that involves skins is his speciality. Cavalli loves his printer, too. That was where the exploded floral print on a jacket came from. Likewise the palm-tree-leaf print on a pair of jeans, and the sunset print everywhere else. But Oxford bags? In the future, it might be best if the designer applied the Romeo + Juliet test: Would a Montague or Capulet wear this outfit?

— Tim Blanks

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