Jason Wu said that the reason for his decision not to participate in the track performance was almost the reason for the continuous running performance since 2006. After the designer was in the “past, present, future” state, he decided not to participate in the runway show. This season’s mind records his archives. Hanging in the showroom is a Mrs. Grace style dress Starting in the fall of 2008, he took flat photos and opened them in the back to reveal its internal structure, one of Wu’s obsessions. He then made new clothes from it by woven into a photo of his dress knitted into jacquard (see Look 7). The opening appearance is made of red strapless numbers on asymmetric hem, made of this textile.
Wu has been deconstructing over the past few seasons, and he has reached a perfect balance in this outfit. The flatness of the original corset and the clarity of the exposed darts tell the flat pattern and its depicted folds. What you can’t see in the picture is Wu’s “Mille-feille seams”: layers of fabric are inserted into the hem, and they sit together like a thin layer of pastries or pages in books (you can learn such good ideas Appearance 11). The material for making wrinkled red satin gowns is also jacquard, and a picture of fabric is placed in the print.
Beautiful is WU’s signature, but the designer says he no longer looks for the perfect idea that he once held tight. In this series, a sense of ease and comfort. The mohair dress is opaque and becomes more transparent under the hips. Its entrained hanging line “Ghost” blazer shows the pink of its wool chiffon that looks like muslin, and can be seen and appreciated by the composition of the work. He said that “Frankenstein” and “Morticia” are adjectives WU that are suitable for all-black works, and he said, Tim Burton’s emotions. Loading somewhere between these more gothic, the performance stopped the evening look, which was a piece of round screen on the hem.
Wu is an avid fashion historian who hides a subtle tribute to great men throughout the product. The photoprint nodded to Gaultier, and his peeling dress could be seen as a tribute to Salvador Dalí’s tear mark for Elsa Schiaparelli. The back of the finale dress reveals a horse-haired petticoat, which brings the fragrance of vionnet design without derivative effects. It is a collection full of confidence that conveys a quiet power. And it’s pretty, not Polyanian. “Fashion requires talking to culture,” Wu said. With its exposed structure, his original outfit has the honesty of “working automatically” that admits that life is not perfect. Nevertheless, the pursuit of beauty and impulse for creation is crucial.
