What is Erdem resort “about”? Short

What is Erdem resort “about”? Short answer: a man who makes very beautiful clothes. Longer answers: a) “how different decades look at different decades” and b) “clothes to absorb into your life.” The key to what makes Erdem Moralioglu’s clothes so consistently appealing lies somewhere between those two statements—dreaminess on the one hand, and pragmatic empathy on the other. His romantic functionalism—the flowers, the lace, the flounces, the frills—always manages to avoid being twee or cloying. Or maybe that’s got something to do with the recalcitrant expressions on his models’ faces. Or the way their feet are always grounded in sensible shoes—in this case, loafers and “hybrid loafer granny-boots.”

But back to the general drift. The designer says he was thinking about “how the sixties and seventies looked back at Victoriana” and other waves of nostalgia which are never historically accurate (in fact sometimes laughably so) when served up again in movies and fashion. Nastassja Kinksi as Tess of the d’Urbervilles, Julie Christie in Far from the Madding Crowd, Picnic at Hanging Rock, and Marianne Faithfull as a virginal teenager might be floating round in the background here, but not to be taken too seriously as influences. The point is how they’re used now. As all fashion eagle eyes will have spotted, Victoriana is on the loose this season, although, this being 2015, it is of course picking up the agreed knacks of now. Two of them are today’s evening skirts—which have to be at lower-shin length—and the yoke configurations of necklines. Both these are accurately pinpointed in Erdem’s resort collection, along with many other delicious delights which don’t fit any theme he seemed to be talking about but just are, because they are. Flick forward to the cream cloque strapless, Watteau-backed ballerina-length dress at the end of this sequence. Why waste more words?

Kết quả (Việt) 1:

Van Vuong resort "về" là gì? Câu trả lời ngắn: một người đàn ông đã làm cho quần áo rất đẹp. Câu trả lời dài: a) "như thế nào khác nhau thập kỷ nhìn vào thập kỷ khác nhau" và "b) quần áo để hấp thụ vào cuộc sống của bạn." Chìa khóa để những gì làm cho quần áo Erdem Moralioglu vì vậy luôn hấp dẫn nằm một nơi nào đó giữa những hai báo cáo — dreaminess trên một bàn tay và thực dụng cảm ngày khác. Functionalism lãng mạn của mình-những bông hoa, ren, các flounces, các rườm rà — luôn luôn quản lý để tránh bị twee hoặc cloying. Hoặc có lẽ rằng có cái gì để làm với các biểu thức ngoan cố trên khuôn mặt của mình các mô hình. Hoặc cách bàn chân của họ luôn luôn được căn cứ vào hợp lý giày-trong trường hợp này, giày đi dạo và "lai người đi rong granny-boots."But back to the general drift. The designer says he was thinking about “how the sixties and seventies looked back at Victoriana” and other waves of nostalgia which are never historically accurate (in fact sometimes laughably so) when served up again in movies and fashion. Nastassja Kinksi as Tess of the d’Urbervilles, Julie Christie in Far from the Madding Crowd, Picnic at Hanging Rock, and Marianne Faithfull as a virginal teenager might be floating round in the background here, but not to be taken too seriously as influences. The point is how they’re used now. As all fashion eagle eyes will have spotted, Victoriana is on the loose this season, although, this being 2015, it is of course picking up the agreed knacks of now. Two of them are today’s evening skirts—which have to be at lower-shin length—and the yoke configurations of necklines. Both these are accurately pinpointed in Erdem’s resort collection, along with many other delicious delights which don’t fit any theme he seemed to be talking about but just are, because they are. Flick forward to the cream cloque strapless, Watteau-backed ballerina-length dress at the end of this sequence. Why waste more words?