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(A pension scheme http://myder.org/palmebi/ palmebi
ba As if moving from the sepia landscape of Kansas into the flamboyant Technicolor of Oz, the show's second section, "Tradition and Innovation," is) |
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ba As if moving from the sepia landscape of Kansas into the flamboyant Technicolor of Oz, the show's second section, "Tradition and Innovation," is garden bright and full of wonders. Here we see the hot colors of the kimono finding new life in wayward shapes, many of them pregnant, as if embodying the birth of new ideas. Present are Ms. Kawakubo's infamous stretch dresses of 1997, happy ginghams with scary tuber-shaped padding in odd places. And a 2007 blood-red baby-doll dress by Jun Takahashi speaks to the Japanese interest in cutting-edge textiles. The dress recalls those ostrich-feather Norells of the 1960s, but it's actually covered in synthetic organdy appliqués, thousands of them, each one a tiny skull and crossbonesâa comment, possibly, on the death implicit in the harvest of organic materials. Junya Watanabe, in his work with synthetics, touches transcendence. His ensemble of polyester organdy (2000-01)âa fitted jacket in multiple raw layers of iridescent ruby, rather Victorian, over a yellow honeycomb-structured organdy skirt, biomorphically bulgingâis a sci-fi annunciation, worthy of Jules Verne. | |
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Revision as of 00:21, 10 August 2014
A pension scheme http://myder.org/palmebi/ palmebi
ba As if moving from the sepia landscape of Kansas into the flamboyant Technicolor of Oz, the show's second section, "Tradition and Innovation," is garden bright and full of wonders. Here we see the hot colors of the kimono finding new life in wayward shapes, many of them pregnant, as if embodying the birth of new ideas. Present are Ms. Kawakubo's infamous stretch dresses of 1997, happy ginghams with scary tuber-shaped padding in odd places. And a 2007 blood-red baby-doll dress by Jun Takahashi speaks to the Japanese interest in cutting-edge textiles. The dress recalls those ostrich-feather Norells of the 1960s, but it's actually covered in synthetic organdy appliqués, thousands of them, each one a tiny skull and crossbonesâa comment, possibly, on the death implicit in the harvest of organic materials. Junya Watanabe, in his work with synthetics, touches transcendence. His ensemble of polyester organdy (2000-01)âa fitted jacket in multiple raw layers of iridescent ruby, rather Victorian, over a yellow honeycomb-structured organdy skirt, biomorphically bulgingâis a sci-fi annunciation, worthy of Jules Verne.