More time with family and time to think – these are the reasons why Jason Wu said he made the decision not to set up a catwalk show after he had done this almost continuously since 2006. The designer was in a “past present, future” watch this season, after a review of his archive. Hanging in the showroom was a Madame Grès -inspired dress from the fall of 2008, which he had photographed flat and had open at the back to reveal the inner construction, one of Wu’s obsessions. He then woven the photo of the dress in a jacquard from which he made new dresses (see look seven). The opening look, a red street number with an asymmetrical hem, was made of this textile.
Wu has been playing with deconstruction in recent seasons and he hit the perfect balance in this item of clothing. The flatness of the rough border body and the sharpness of the exposed arrows speak to the flat pattern and the folds it displays. What you can’t see in the photo are Wu’s “Mille-Feuille seams:” Layers of fabric are inserted into the hem, which are together when layers of a paper-thin container or pages in a book (you can get an idea From an idea such a nice finish of look 11). The material from which a wrinkled red satin was made was also a jacquard, and a photo of a length of the ignition of the fabric was made into a print.
In early days is a WU signature, but the designer said that he is no longer looking for the idea of perfection to which he once clings. There was a sense of convenience and comfort in this collection. There was a mohair dress opaque to just below the hips, where it became more transparent. It is shown with a “ghost” blower in the Palest-thinking pink of muslin-looking woolen chiffon so that the construction of the piece can be seen and appreciated. Wu applies the words “Frankenstein” and “Morticia” as adjectives on all of black pieces that, he said, have a Tim Burton mood. There fall somewhere in the middle of these more goth pieces and the show-stop evening looks was a Glen-checked jacket with a circular screen-printed hem.
Wu is a fiery fashion historian and hidden in this offer were subtle houses on the great ones. A photo print nodded to Gaultier, while his peeling paint -like dresses can be seen as a nod to Salvador Dalí’s tear print for Elsa Schiacarelli. The exposed back of the final dress, which revealed horse hair petticoats, bore the scent of a Vionnet design without being distracted. This was a self -assured collection that conveyed a calm force. And it was beautiful without being a pollyanna. “Fashion must speak with culture,” said Wu. With their exposed construction, his rough edge clothing has a ‘work-in-progress’ reinforcement that acknowledges that life is not perfect; Nevertheless, the search for beauty and the impulse to create are essential.