2019-11-17 22:34:11|码报资料2017管家婆 来源:搜狐音乐


  The fall 2019 shows have come to a close in London. Here, our favorite moments, as captured by T’s photographers.

  This time last year, Richard Quinn received an award from Queen Elizabeth II at his fashion show (the inaugural Queen Elizabeth II Award for British Design). A lot has changed for the London-born designer since then, but this season he continued to develop his distinctive aesthetic of head-to-toe chintzy florals and dramatic shapes. His fall 2019 collection was a dazzling homage to traditional haute couture, featuring ornate floral embroidery crafted in India and extreme silhouettes — cinched waists, bustled hips, high necks — achieved with the help of inbuilt corsetry. Following tradition, the show closed with a bride, dressed in a look topped with a profusion of silver and white ostrich feathers.

  Christopher Kane mined the fetish world for inspiration this season. In particular, he explored the inanimate objects — including balloons, rubber and liquids — sometimes associated with kink. There were streamlined black suits with glossy black rubber panels and lapels, cartoonish balloon-shaped bags and voluminous dresses with bright liquid-filled plastic pockets. Kane described the silhouettes as cupcake-like, noting that several of the skirts were panniered to create a wide, puffed structure. “Everything I do is twisted,” he explained. “But it’s never obviously sexual.”

  Jonathan Anderson said that the set of his latest J.W. Anderson show — a square of thick cream carpet with mineral forms bulging through — was designed to evoke walking in the clouds. Models glided across the soft expanse in tweed-trimmed raincoats, draped jewel-tone tunics and dramatically shaped jackets that were worn in a multitude of ways, including with slouchy wide-leg trousers with a 1920s feel. Anderson described the look as “awkward elegance,” for women who want to stand apart.

  Shown in the damask-walled rooms of the National Portrait Gallery, Erdem Moralioglu’s collection paid tribute to Princess Orietta Doria Pamphilj, the Roman heiress, descended from Pope Innocent X, who spent time in London in the ’60s. The silhouettes evoked Hitchcock heroines — neat twin sets with feathered skirts, swinging coats in emerald mohair — but there were Victorian notes too, including opulent embroideries and velvet bows. Guinevere van Seenus closed the show in a magenta satin cape finished with a voluminous black silk necktie.

  To say that Vivienne Westwood staged a fashion show would be an understatement. Rather, it was a manifesto for the designer’s campaign to save the world from climate change and misinformation. A wide-ranging cast of characters, including the actress Rose McGowan and the environmentalist John Sauven, delivered speeches on democracy, waste and Brexit. When it came to the clothing — a mixture of Westwood’s hallmark check tailoring, rustic knitwear and T-shirts scribbled with slogans — the mantra was: “Buy less, choose well, make it last.”

  For his second show for Burberry, Riccardo Tisci presented a collection that ran the gamut of British archetypes. There were soccer shirts reimagined as thigh-grazing mini dresses worn with check puffer jackets; old-world ladylike skirt suits, neatly cinched at the waist and accessorized with gloves and faux fur coats. Men’s wear featured just as prominently and ranged from hyper-branded sportswear to Savile Row tailoring. Located in the basement of the Tate Modern, the catwalk was surrounded by a cage-like structure over which tracksuit-wearing teenagers climbed, cheering, as the show came to a close.

  The artist Louise Bourgeois has long inspired Simone Rocha, and this season the designer paid homage to her work once more. Bourgeois often used shades of blue and pink to convey emotion in her fabric sculptures, and Rocha drew on that, showing blush sequin dresses and periwinkle satin babydolls. Several lingerie-inspired pieces also nodded to the artist’s lesser-known sculptures; one such look was modeled by the actress Chloë Sevigny and the cast also included the veteran models Marie Sophie Wilson, Lily Cole and Kirsten Owen.

  For Molly Goddard, coziness and security are sartorial solutions for uncertain times. Her latest collection was an ode to comfort: there were corduroy dresses, woolly boots, balaclavas and heavyweight jacquard dresses layered with argyle knits. “I wanted it to be less frivolous,” she said after the show. Streamlined tailored suits and coats certainly marked a departure for the designer, who made her name with big, bouncing smocked-tulle dresses — not that there was a dearth of those. The show closed with a parade of frothy dresses in peppermint green, canary yellow and vivid hot pink.

  Staged in the Art Deco ballroom of the Sheraton Grand (formerly The Park Lane Hotel, built in 1927), Michael Halpern’s show was a paean to Erté, the early 20th-century Russian-French illustrator and designer. Hence why the New York-born designer’s signature sequin pieces came in longer, more sinuous silhouettes than his previous iterations of Studio 54 mini dresses. “Everything was twisted on the bias to give it a trailing fluidity,” he explained. The ambient lighting design evoked the feel of a candlelit salon, and models meandered slowly through the shadows. “I liked the idea of them taking their time,” he said.

  The York-based designer Matty Bovan titled his fall 2019 collection “In Uncertain Times, This Thing Is a Sure Thing!” It was the last line of a letter addressed to his recently deceased grandmother from a furniture resale company, and it chimed with the darker energy of his show this season, which he described as an “ode to England.” Pieces with Edwardian silhouettes came in British textiles, including blown-up Liberty floral prints, while “tapestry knits,” as Bovan referred to them, featured an array of symbols including spaceships and even a passport photo of the designer. To top it off, Stephen Jones engineered jaunty Mad Hatter-style millinery.

  Reporting by Osman Ahmed.




【夜】【晚】,【马】【志】【远】【在】【路】【边】【找】【了】【块】【地】【就】【躺】【了】【下】【来】。 【身】【上】【裹】【着】【那】【个】【单】【身】【汉】【送】【的】【兽】【皮】【毯】【子】。 【毯】【子】【上】【的】【毛】【都】【已】【经】【一】【块】【一】【块】【的】【了】,【脏】【的】【无】【法】【描】【述】。 【但】【是】【这】【对】【于】【现】【在】【的】【马】【志】【远】【来】【说】【已】【经】【无】【所】【谓】【了】。 【没】【一】【会】【他】【就】【睡】【着】【了】。 【可】【能】【是】【因】【为】【体】【力】【上】【的】【消】【耗】,【他】【睡】【得】【别】【提】【多】【死】【了】,【就】【是】【打】【雷】【天】【气】【下】【他】【都】【能】【呼】【呼】【大】【睡】。 【这】【有】【一】

【三】【生】【剑】【帝】【背】【后】【生】【寒】,【猛】【然】【回】【头】【却】【什】【么】【也】【没】【有】【看】【到】。 【忽】【然】,【眼】【前】【一】【花】,【伊】【正】【平】【再】【度】【站】【在】【了】【他】【的】【面】【前】。 “【以】【牙】【还】【牙】,【以】【眼】【还】【眼】……” “【啊】【啊】【啊】【啊】!!!!”【他】【疯】【狂】【地】【往】【前】【斩】【去】。 …… 【现】【实】【中】,【伊】【正】【平】【缓】【缓】【地】【将】【月】【白】【神】【剑】【推】【入】【了】【三】【生】【剑】【帝】【的】【心】【脏】【当】【中】。 “【水】【中】【映】【月】【能】【无】【限】【延】【长】【时】【间】,【还】【有】1【分】【钟】【你】【就】

  【今】【年】【手】【机】【行】【业】【的】【竞】【争】【真】【的】【好】【残】【忍】,【黑】【科】【技】、【性】【价】【比】、5G、【未】【来】【感】【设】【计】【等】,【之】【前】【不】【敢】【想】【的】【事】【情】【都】【发】【生】【了】,OPPO vivo【都】【开】【始】【玩】【起】【了】【性】【价】【比】,【并】【别】【把】【友】【商】【按】【在】【地】【上】【摩】【擦】,【华】【为】【依】【旧】【强】【势】,【在】【行】【业】【处】【于】【领】【先】【姿】【态】;【苹】【果】【降】【价】【策】【略】【依】【旧】【赚】【的】【盆】【满】【钵】【满】,【大】【厂】【三】【星】【孤】【芳】【自】【赏】!码报资料2017管家婆“【少】【给】【我】【皮】,【谁】【是】【你】【老】【婆】,【我】【还】【是】【黄】【花】【大】【闺】【女】【呢】!”【挣】【脱】【开】【伊】【燃】【的】【怀】【抱】【后】,【铷】【初】【朝】【着】【他】【做】【了】【个】【鬼】【脸】,【随】【后】【朝】【着】【医】【院】【跑】【了】【过】【去】。 【走】【在】【后】【面】【的】【伊】【燃】,【嘴】【角】【上】【扬】,【好】【心】【情】【地】【看】【着】【她】【灵】【动】【的】【身】【子】。 【这】【丫】【头】【就】【是】【一】【个】【没】【心】【没】【肺】【的】,【无】【论】【在】【什】【么】【地】【方】【什】【么】【时】【候】,【她】【都】【能】【开】【开】【心】【心】【的】,【或】【许】【这】【就】【是】【她】【最】【开】【始】【就】【让】【他】【感】【到】【惊】【艳】【的】【地】

  【最】【后】【叶】【纪】【念】【打】【电】【话】【给】【叶】【昊】【的】【秘】【书】,【扔】【下】【一】【屁】【股】【烂】【摊】【子】【和】【叶】【以】【南】【去】【了】【医】【院】。 【叶】【昊】【的】【秘】【书】【姓】【林】,【经】【常】【给】【叶】【纪】【念】【收】【拾】【烂】【摊】【子】,【能】【力】【强】【话】【不】【多】,【听】【到】【叶】【纪】【念】【的】【吩】【咐】【也】【只】【是】【问】【了】【一】【句】:“【需】【要】【送】【你】【们】【去】【医】【院】【吗】?”【被】【拒】【绝】【后】【也】【不】【多】【再】【多】【话】。 【去】【医】【院】【的】【出】【租】【车】【上】,【两】【人】【一】【路】【无】【言】。【气】【氛】【一】【度】【尴】【尬】【到】【凝】【固】。【司】【机】【师】【傅】【已】【经】【从】【后】【视】

  “【婧】【婧】!” 【乔】【奶】**【开】【门】【就】【看】【见】【一】【身】【盛】【装】【的】【乔】【婧】。 【她】【来】【的】【匆】【忙】,【没】【有】【换】【下】【衣】【服】。 【保】【镖】【也】【及】【时】【将】【乔】【婧】【的】【奖】【杯】【送】【了】【过】【来】。 “【奶】【奶】,【颁】【奖】【典】【礼】【一】【结】【束】【我】【就】【过】【来】【了】。”【乔】【婧】【笑】【着】【抱】【着】【乔】【奶】【奶】。 【这】【段】【时】【间】【乔】【奶】【奶】【几】【乎】【都】【在】【公】【司】,【虽】【然】【乔】【奶】【奶】【保】【养】【得】【当】,【平】【时】【也】【很】【注】【重】【养】【生】,【但】【是】,【毕】【竟】【是】【六】【十】【多】【岁】【的】【人】【了】,【总】

  【南】【慕】【白】【这】【么】【一】【找】【就】【是】【百】【年】,【百】【年】【时】【间】【根】【本】【没】【有】【云】【宁】【的】【任】【何】【消】【息】,【虽】【然】【心】【里】【着】【急】,【可】【是】【却】【无】【能】【为】【力】。 【而】【且】【这】【百】【年】【时】【间】【也】【完】【全】【没】【有】【云】【崖】【上】【神】【和】【素】【琴】【上】【神】【的】【消】【息】。 【不】【过】【此】【时】【整】【个】【仙】【界】【如】【今】【竟】【然】【也】【处】【于】【莫】【名】【的】【平】【静】,【不】【论】【是】【东】【南】【界】【面】,【还】【是】【魔】【域】,【妖】【族】【都】【非】【常】【的】【平】【静】。 【而】【南】【界】【面】【宫】【殿】【的】【一】【间】【房】【间】【里】,【一】【个】【人】【睁】【开】【了】【眼】