未来主义思潮席卷米兰
编辑点评：未来主义是20世纪60年代末至70年代初在西方发达资本主义国家出现的一种对社会发展的未来前景进行研究和预测的社会思潮。
未来主义是现代文艺思潮之一。1909年意大利马利奈蒂倡始。1911年至1915年广泛流行于意大利。第一次世界大战期间传布于欧洲各国。以尼采﹑柏格森哲学为根据认为未来的艺术应具有"现代感觉"并主张表现艺术家进行创作时的所谓"心境的并发性"。
Posters across this city celebrate the centenary of futurism. Yet just one designer at the autumn 2009 shows has had the courage and the skill to look the future in the face.
Swooping sculptures, tracing neck and torso, or flowing in sinuous shapes around the back, were sent out by Raf Simons in homage to Jil Sander's modern outlook. But the show was far more than an architectural exercise with the founding designer as its compass point. The white room resonated with emotion as Simons brought out the head of the Hamburg atelier, which is to be relocated to Italy.
There was also a shivering sense of surprise as the streamlined severity of coats and dresses in homage to Sander was replaced, after a rotation of the lights and flashes of color, by the pure aesthetic of Simons.
He sculpted organic shapes out of cloth with the French ceramist Pol Chambost as inspiration.
If the references sound overwhelming, the show was the opposite: a graceful tribute to womanhood, with every line a curve and the designer's lean tailoring given voluptuous shape, as a coat front followed a sinuous path or a contour of vivid color wrapped around a dress. The construction of a suit that turned to reveal it as a coat dress was so effortless that it was hard to fathom that Simons has been doing women's wear for less than four years.
"It is more of a dream than I ever thought - the future and further exploration, and at the same time," said Simons, whose every exquisite detail included changing shoes from almost flat with a stunted heel to bolder geometry in the second half of the collection. The overall effect of coats cut on the curve, swelling sleeves and funnel necks was of a magical reality from a laboratory of ideas.
"Grace" has seemed a prissy word during the era of female emancipation. But at Bottega Veneta, a calm and beautiful collection from Tomas Maier proved that what he called "unconventional glamour" was a fresh element in design. The designer concentrated on current themes - like a widened shoulder line on a dress, a rounded cape, sparkling fabrics and even fashionable socks with ankle boots. Yet the flow of the collection was in Bottega Veneta's spirit of anti-attention seeking.
（责编：Fionafyy）
