色彩大师的绝唱 Christian Lacroix 2009 春夏高级订制时装秀

月光宝盒

PARIS, January 27, 2009

Little drummer boys, chichi soubrettes, Belle  Époque madames, southern Mediterranean exotics: All these stock Christian  Lacroix characters lined up and wound their way around his carpeted runway for  Spring. In that sense, the collection was much as it always is, though that's  also to say just as laden with layered delights and surprises. Lacroix has  relaxed into a groove in which all the imagination he's developed and knowledge  he's accrued over 22 years seem to flow out of his fingertips and into  effortless collages of pattern, color, and personal references.

No  outfit can ever be assessed in a single glance: It needs at least a triple or  quadruple take for the eye to take it in and the brain to name what's going on.  There's the palette alone: nasturtium, peony, ice blue, mushroom; then the  prints and the poufs and the flying peplums; the drapes, the stripes, the bows,  the bangles.

That would be overload in anyone else's book, but for  Lacroix, this show had a relative simplicity. There was calmer daywear in the  form of military pantsuits and a return to the short, eighteenth-century  pouf-skirted silhouettes of the collections that first made his name in the late  eighties. What elevated the whole to a current newsworthy context, though, were  the things Lacroix did with jewelry: stacks of mismatched lacquer and crystal  cuffs, multiple smotherings of giant glittery necklaces, gilded heart-shaped  lockets, and faux fronds of coral. Even a humble woven basket bag became a  canvas for a super-dose of diamanté and metallic gold baubles. It was a pleasure  to witness and something to be inspired by. Even if only the very few will own a  part of this collection, there's an idea in there for every fashion watcher: If  you've got jewelry, it's time to bring it out and try piling it on all at once.