Reuters
模特身着Dolce & Gabbana套装鱼贯而出
自
从伊夫•圣罗兰(Yves St. Laurent)在1966年推出帅气的“吸烟装”(Le Smoking)以来，各大时装品牌的2010年秋季系列为职业女性呈现出了一道最亮丽的风景线。在意大利的米兰，古奇(Gucci)、吉尔•桑达(Jil Sander)、Etro、玛尼(Marni)、杜嘉班纳(Dolce & Gabbana)、普拉达(Prada)、宝缇嘉(Bottega Veneta)和Aquilano Rimondi都推出了优雅而经典的女性套装──西装外套搭配长裤或裙装。在纽约，马克•雅可布(Marc Jacobs)、迈克•科尔(Michael Kors)和其他品牌也如法炮制。现在轮到了法国人来引领这股潮流──为期九天的巴黎时装周近日拉开了帷幕。
Everett Collection
首饰设计师Bianca Jagger头戴圆顶硬礼帽身穿白色套装亮相。（照片摄于1972年）
另外，近年来T台上展示的许多服装款式都无外乎低领、透明、超短或紧身，这些样式足够让人们在办公室里议论上一个星期的了。这就将很多的职业女性推向了Talbots或者St. John这些品牌，这让她们感觉自己已经尴尬地落伍了。
而新款式则让人感觉舒服、强势，它们也远非曲线毕露。这让人回想起查理(Charlie)女孩儿──上世纪70年代初露华浓(Revlon)香水广告里那些穿着套装的女性。和最近几年流行的垫肩装不同，这些衣服除了面料的讲究之外并没有任何夸张之处。长款上衣和富于垂感的宽腿长裤让女性的身材显得更加高挑。
由模特谢丽•哈克(Shelley Hack)演绎的查理女孩儿影响了许许多多的女性（其中包括当年还很年轻的奥普拉•温弗莉(Oprah Winfrey)，她最近在自己的节目中作出了上述表示），她们希望成为广告中的人物：性感而自信的现代职业女性。查理女孩儿身着飘逸的套装，从上衣、裙子到丝绸衬衫都十分搭配。
如今，女性对于职业赋予自身的力量不再显得那么自信满满了。不过在米兰，托马斯•迈尔(Tomas Maier)让人重新回想起了70年代的乐观情绪。他为宝缇嘉推出了一款优雅的“查理女孩儿”套装。“掌控一切的不是衣服，而是女性，”他在时装秀结束后表示。
由托马索•阿奎拉诺(Tommaso Aquilano)和罗伯特•瑞蒙蒂(Roberto Rimondi)设计的品牌Aquilano Rimondi展示了“查理女孩儿”套装的另一个版本──深色、双排扣、宽领──这一适合日常穿着的系列和他们过去几季推出的那种过于考究复杂的款式形成了强烈反差。在这两位设计师参与设计的Gianfranco Ferre品牌时装中，他们的风格也大为转变：以舒适的灰色羊毛宽腿裤装和其他剪裁讲究的款式为特色，这些款式看起来是为了突出优点而不是暴露身材。
Catwalking/Getty Images
Aquilano Rimondi的最新设计
这股套装潮流已经变得势不可挡，即使是那些风格完全不同的设计师也在顺势而为。以鲜亮的色彩、波希米亚图案和柔软面料而闻名的维罗妮卡•艾特罗(Veronica Etro)也推出了搭配一致的上装和窄腿裤，以及粉红色的“查理女孩儿”套装，不过和双排扣上衣搭配的却是七分裤、翻边裤和阔腿裤。
缪西娅•普拉达(Miuccia Prada)将她的秋季系列称为“正常的”服装──“经典，经典，”她表示。她推出了束腰连衣裙，并在胸线上增加了缝褶的设计以贴合普通女性的体型，还搭配了简洁的高跟鞋。这和她以往T台秀的风格相比是个很大的转变（水靴和短裤是她上个冬季系列的主打），甚至可以称得上是颠覆性的。
看看这些系列在摆上零售店的货架之后销售情况如何将是件让人兴奋的事情。美国的百货商场似乎正在欣然接纳这股潮流。内曼•马库斯(Neiman Marcus)的时尚总监肯•唐宁(Ken Downing)在米兰表示，从目前来看，这一季的服装销售不错。
在米兰的古奇时装秀开场前，波道夫•古德曼(Bergdorf Goodman)的时尚总监琳达•法戈(Linda Fargo)表示，她欢迎“向经典式样的回归” 。古奇接下来的时装秀展示了很多搭配一致的灰色套装──西装上衣和长裤，也突出了对手感和奢华面料的注重。
这股风潮的顶峰出现在了杜嘉班纳的秀场上。这一季，他们向西装外套──还有该品牌裁缝们的高超技艺表达了敬意。来自意大利的杜嘉班纳靠富于挑逗性的广告和时装秀树立起了名声。
T台上的背景影片展示了这些员工量衣和缝纫的慢镜头，而模特们则在前台展示着成衣。（为了追求艺术表现力，西装外套里面有时只穿着贴身内衣。）影片对缝纫技艺的展现充满了敬意，这让台下的许多观众为之感动。
随后这场时装秀落下了帷幕──不过，最后出场的不是通常的梦幻礼服，而是一件精心剪裁的大衣。
Christina Binkley
缪西娅•普拉达(Miuccia Prada)将她的秋季系列称为“正常的”服装──“经典，经典，”她表示。她推出了束腰连衣裙，并在胸线上增加了缝褶的设计以贴合普通女性的体型，还搭配了简洁的高跟鞋。这和她以往T台秀的风格相比是个很大的转变（水靴和短裤是她上个冬季系列的主打），甚至可以称得上是颠覆性的。
看看这些系列在摆上零售店的货架之后销售情况如何将是件让人兴奋的事情。美国的百货商场似乎正在欣然接纳这股潮流。内曼•马库斯(Neiman Marcus)的时尚总监肯•唐宁(Ken Downing)在米兰表示，从目前来看，这一季的服装销售不错。
在米兰的古奇时装秀开场前，波道夫•古德曼(Bergdorf Goodman)的时尚总监琳达•法戈(Linda Fargo)表示，她欢迎“向经典式样的回归” 。古奇接下来的时装秀展示了很多搭配一致的灰色套装──西装上衣和长裤，也突出了对手感和奢华面料的注重。
这股风潮的顶峰出现在了杜嘉班纳的秀场上。这一季，他们向西装外套──还有该品牌裁缝们的高超技艺表达了敬意。来自意大利的杜嘉班纳靠富于挑逗性的广告和时装秀树立起了名声。
T台上的背景影片展示了这些员工量衣和缝纫的慢镜头，而模特们则在前台展示着成衣。（为了追求艺术表现力，西装外套里面有时只穿着贴身内衣。）影片对缝纫技艺的展现充满了敬意，这让台下的许多观众为之感动。
随后这场时装秀落下了帷幕──不过，最后出场的不是通常的梦幻礼服，而是一件精心剪裁的大衣。
Christina Binkley
The fall 2010 collections may offer the best clothes for working women since Yves St. Laurent introduced the sleek 'Le Smoking' pantsuit in 1966.
In Milan, Gucci, Jil Sander, Etro, Marni, Dolce & Gabbana, Prada, Bottega Veneta and Aquilano Rimondi all showed elegant, classic versions of women's suits -- tailored jackets with either pants or skirts to match. In New York, Marc Jacobs, Michael Kors and others did the same. Now it's up to the French -- who are just starting nine days of runways shows in Paris -- to shape the trend.
It's hard to overstate how different the new suits are from the dominant styles of the past few years. Very recently -- until about two weeks ago, in fact -- being 'matchy-matchy' was considered a fashion crime. Florals could be mixed with plaid and sable with denim. But a tailored jacket that matched its pants or skirt suggested a blind eye toward style. A key look was a dress worn with a cardigan, Michelle Obama-style. Now, it looks as if designers have moved on from the first lady to adopt Xerox Chairman Anne Mulcahy as a muse.
Also, many of the clothes shown on runways in recent years were plunging, see-through, micro-mini, or so skinny that they would inspire a week of water-cooler talk at the office. That left a lot of working woman shopping at Talbots or St. John and feeling awkwardly out of fashion.
The new look is comfortable, strong and far from body-revealing. It's redolent of the Charlie girl -- the pantsuit-wearing woman in the early-1970s ads for the Revlon perfume. In contrast to the power-shoulder looks introduced in recent years, there is nothing exaggerated about these clothes except the luxury of the fabrics. The silhouette is elongated, with long jackets and flowy, relatively wide-legged pants.
The Charlie girl, as played by the model Shelley Hack, influenced thousands of women (including a young Oprah Winfrey, the entertainer recently said on her show) who wanted to be just like the figure in the ads: a modern career woman, sexy and confident. She wore a fluid pantsuit whose tailored jacket, trousers and silk blouse all matched.
These days, women aren't as optimistic about career empowerment. But in Milan, Tomas Maier, who showed a swank 'Charlie girl' suit for Bottega Veneta, recalled that '70s optimism. 'Clothes are not in control. Women are in control,' he said post-show.
Aquilano Rimondi, designed by Tommaso Aquilano and Roberto Rimondi, showed another version of a 'Charlie girl' suit -- dark, double-breasted and wide-lapeled -- in a wearable collection that contrasted sharply with the overly dressy and complicated looks they've shown in past seasons. The duo made a similar about-face at Gianfranco Ferre, which they also design, by featuring comfy-looking wide-legged pants in a sparkly gray wool, along with other highly tailored looks that seemed cut to flatter rather than to reveal.
The suiting trend is so marked that even designers who are known for something entirely different are showing it. Veronica Etro, renowned for her vivid colors, bohemian patterns and fluid fabrics, showed matching tops and narrow-legged pants, as well as a coral-colored 'Charlie girl' suit, updated with cropped, cuffed, wide-legged pants under its double-breasted jacket.
Miuccia Prada heralded her fall collection as 'normal' clothing -- 'classical, classical,' she said. She showed nip-waisted dresses, with darts at the bustline to fit a regular woman's figure, and simple heels. It was such a turn from what's usually on her runways (hip waders and panty-shorts were the essence of her last winter collection) that it seemed almost subversive.
It will be exciting to see how these collections sell when they arrive in stores. American department stores appear to be embracing the approach. Ken Downing, fashion director for Neiman Marcus, said in Milan that it's been a 'good season so far.'
As she waited for Gucci's show to begin in Milan, Linda Fargo, Bergdorf Goodman's fashion director, said she welcomes the 'return to classic tailoring.' What followed at Gucci was a lot of matching gray suiting -- tailored jackets and long pants -- and an emphasis on texture and luxury fabrics.
The height of the trend came at Dolce & Gabbana, which has built its reputation on provocative ads and shows. This season, it offered an emotional tribute to the tailored jacket -- and the skills of the seamstresses and tailors who labor on the Italian company's clothing.
A film in the backdrop showed these employees measuring, pinning and stitching in slow motion, as live models in the foreground cat-walked in versions of tailored suits. (For artistic effect, the jackets were sometimes worn over lingerie.) The acknowledgment of tailoring was so full of reverence that it left numerous moist eyes in the audience.
Then the show closed -- not on the standard fantasy gown but on a perfectly tailored overcoat.
Christina Binkley
In Milan, Gucci, Jil Sander, Etro, Marni, Dolce & Gabbana, Prada, Bottega Veneta and Aquilano Rimondi all showed elegant, classic versions of women's suits -- tailored jackets with either pants or skirts to match. In New York, Marc Jacobs, Michael Kors and others did the same. Now it's up to the French -- who are just starting nine days of runways shows in Paris -- to shape the trend.
It's hard to overstate how different the new suits are from the dominant styles of the past few years. Very recently -- until about two weeks ago, in fact -- being 'matchy-matchy' was considered a fashion crime. Florals could be mixed with plaid and sable with denim. But a tailored jacket that matched its pants or skirt suggested a blind eye toward style. A key look was a dress worn with a cardigan, Michelle Obama-style. Now, it looks as if designers have moved on from the first lady to adopt Xerox Chairman Anne Mulcahy as a muse.
Also, many of the clothes shown on runways in recent years were plunging, see-through, micro-mini, or so skinny that they would inspire a week of water-cooler talk at the office. That left a lot of working woman shopping at Talbots or St. John and feeling awkwardly out of fashion.
The new look is comfortable, strong and far from body-revealing. It's redolent of the Charlie girl -- the pantsuit-wearing woman in the early-1970s ads for the Revlon perfume. In contrast to the power-shoulder looks introduced in recent years, there is nothing exaggerated about these clothes except the luxury of the fabrics. The silhouette is elongated, with long jackets and flowy, relatively wide-legged pants.
The Charlie girl, as played by the model Shelley Hack, influenced thousands of women (including a young Oprah Winfrey, the entertainer recently said on her show) who wanted to be just like the figure in the ads: a modern career woman, sexy and confident. She wore a fluid pantsuit whose tailored jacket, trousers and silk blouse all matched.
These days, women aren't as optimistic about career empowerment. But in Milan, Tomas Maier, who showed a swank 'Charlie girl' suit for Bottega Veneta, recalled that '70s optimism. 'Clothes are not in control. Women are in control,' he said post-show.
Aquilano Rimondi, designed by Tommaso Aquilano and Roberto Rimondi, showed another version of a 'Charlie girl' suit -- dark, double-breasted and wide-lapeled -- in a wearable collection that contrasted sharply with the overly dressy and complicated looks they've shown in past seasons. The duo made a similar about-face at Gianfranco Ferre, which they also design, by featuring comfy-looking wide-legged pants in a sparkly gray wool, along with other highly tailored looks that seemed cut to flatter rather than to reveal.
The suiting trend is so marked that even designers who are known for something entirely different are showing it. Veronica Etro, renowned for her vivid colors, bohemian patterns and fluid fabrics, showed matching tops and narrow-legged pants, as well as a coral-colored 'Charlie girl' suit, updated with cropped, cuffed, wide-legged pants under its double-breasted jacket.
Miuccia Prada heralded her fall collection as 'normal' clothing -- 'classical, classical,' she said. She showed nip-waisted dresses, with darts at the bustline to fit a regular woman's figure, and simple heels. It was such a turn from what's usually on her runways (hip waders and panty-shorts were the essence of her last winter collection) that it seemed almost subversive.
It will be exciting to see how these collections sell when they arrive in stores. American department stores appear to be embracing the approach. Ken Downing, fashion director for Neiman Marcus, said in Milan that it's been a 'good season so far.'
As she waited for Gucci's show to begin in Milan, Linda Fargo, Bergdorf Goodman's fashion director, said she welcomes the 'return to classic tailoring.' What followed at Gucci was a lot of matching gray suiting -- tailored jackets and long pants -- and an emphasis on texture and luxury fabrics.
The height of the trend came at Dolce & Gabbana, which has built its reputation on provocative ads and shows. This season, it offered an emotional tribute to the tailored jacket -- and the skills of the seamstresses and tailors who labor on the Italian company's clothing.
A film in the backdrop showed these employees measuring, pinning and stitching in slow motion, as live models in the foreground cat-walked in versions of tailored suits. (For artistic effect, the jackets were sometimes worn over lingerie.) The acknowledgment of tailoring was so full of reverence that it left numerous moist eyes in the audience.
Then the show closed -- not on the standard fantasy gown but on a perfectly tailored overcoat.
Christina Binkley
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