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Sébastien Meyer and Arnaud Vaillant have become a big noise in fashion by cleverly blending the contemporary fascination for technology with highly contemporary and fun womenswear design. Tonight they took us on a journey into sound.
We were at IRCAM, a 1977-founded institute next to the Pompidou Center dedicated to sonic research. Downstairs in a high-roofed hall the show opened with a blast of abstract noise. Then the banks of insulated panels set into the ceiling and walls began to move, rotating to bounce the sound waves in different directions, affecting the manner in which they reached our ears. The audience raised its camera phones to shoot video.
This was the fanfare to herald a collection in which the designers’ ingenuity bounced against technology both new and old to muster clothes that echoed this most intangible of concepts. The newer tech came first, via flat speakers by Transparent, integrated into an opening leather jacket, a men’s sleeveless T-shirt, and other pieces.
Jacket lapels were in the peaked shape but notched far lower than usual. Knitwear sleeves hung way down below the wrist, or were sometimes knotted. Meyer said that this impression of stretching was in part because the sound of the fabric being wrenched had been incorporated into the soundtrack by u.r.trax , and partly because they were looking to remix a new, silhouette-signaled impression of nonchalance.
The collection found its eye-catchiest tempo when contemplating older technologies. Vaillant asserted “the triangle is the smallest instrument and makes the loudest noise” in the orchestra: this was something a trombonist might dispute, however the insertion of triangles into the backs of jackets and the necks and waistlines of evening dresses was immediately arresting.
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