Huishan Zhang holds a filmography of titles that he has viewed in a “notebook” in his head, ready to pick references when it feels good. It was before autumn Valley of the dolls Where he inspired himself, both directly translated and jacquards and with the hand-sealing suggestions for cinematography and set of the film and indirectly as an attitude. “The costumes are literally divine,” he said during an example. “They touched me as a fashion designer.”
Centered around the ‘simplicity and modernity’ of the 1960s, with regard to silhouettes and spirit, the collection took the house of the house of tweed-adapted fit with pearl and crystal broches, to drop-heem denim dresses, and on his ranger. Evening dress. The trademark of the designer embellished satin dresses from the duke was ready for an outing on the red carpet, just like dresses in sequins and neoprene-de latter has been a success for Zhang-and several made of a new laser-cut floral fabric that is supported with tulle. His proposed after-dark accessory was fingerless leather gloves.
The technical details are always the core of Zhang’s range, and he was most enthusiastic about a faux fur that was fragmented and manipulated to simulate feathers, spread over a cream -colored jacket (discreet on the inside for heat) and A powder pink dress. He looked at a black and white photo of a pointed punk as a reference for the feathered hats that were styled with these creations.
Cut to his London customers – some of whom were to view his show in the Dorchester, who opened with “White Rabbit” by Jefferson Airplane (an appropriate environment and soundtrack for his “rebellious but elegant” autumn muse) in the form. From transparent raincoats with expressive contrast pipes, worn on top of the tweeds and evening dresses. “The muse is her,” he said. “This time we really feel her.”