纽约时装周 2009春夏男裝－Gilded Age

如果我們曾經懷疑設計師Stefan Miljanic在上一季為品牌Gilded Age所做的，不是那麼具有啟發性或前衛感，那麼在這季，我們就是確定「他的風格真的就是這麼保守（與力圖嘗試想要表現的很年輕）」。不僅在風格上沒有變化，也相當缺乏季節感，就彷彿上季秋冬秀場的模特兒走完秀後，脫下服裝下樓去抽根菸（然後抽了半年這麼久）又被叫回來再重新走一遍，慌亂之中，模特兒們彼此拿錯衣服，毫不在乎那些不協調的搭配和衣服亂堆造成的縐褶（讓人看起來是墮落而不是頹廢），隨便穿穿就上場了。

忘掉這些尖酸刻薄的評論，縐褶是設計師的確還是有費過工夫做出的仿舊效果。強調在日本以純天然有機染料製成的T恤上衣，也是在這個強調eco的環保世代裡，設計師喜歡也有責任要提倡的議題。不過，根據設計師的說法，這可是用indigo染了11次之多才達到這種顏色的效果，等等，那這樣造成水資源的汙染與浪費，是否還能稱做環保呢？除此之外，設計師頗為自豪的幾件雙面穿單品，也都直接或間接的定義了穿上Gilded Age的男人，是活在怎樣的世紀了。

September 11, 2008

If Stefan Miljanic's new collection for Gilded Age wasn't quite the revelatory surprise that his last was, that's simply because his Fall offering already felt so accomplished that it would only be surprising if he didn't match it for Spring. So the good news was this: no surprise. He once again drew on a particular New York community for inspiration—this time, its artists. The reference points were wide and random enough to encompass the colors of Edward Hopper, a vintage-feeling V-neck tee Miljanic took from a photo of Thomas Hart Benton, and the kind of slouchy worn denims he imagined AbEx icon Jackson Pollock wearing. (Pollock's style was also grist for Adam Kimmel's mill several years ago.)

But what the designer did with this backstory was ultimately less interesting than what he did with the raw materials of his own trade. His dyeing and washing processes, for instance. A hunting jacket in indigo chambray had been washed to bring out imperfections that added appealing texture. T-shirts were organically dyed in Japan, the intensity of the orange shade achieved by 12 days weathering on a rooftop, the indigo dipped 11 times to get its color right. The result will retail for $280. "It's artisanal work that is appreciated by a few," said Miljanic with a hint of rue. But such connoisseurs of cloth would surely also appreciate the designer's double-faced shorts, the interior a gorgeous plaid for the private delight of the wearer. (He truly understands the pleasure of clothes.) Double-facing was something of a theme in wrinkled plaid shirts, a seamless tee, or cotton gauze hoodies. Knits were a strength: cardigans in burnt orange, pale blue, and gray banded in navy, or reversible cotton-cashmere hoodies. And if many of the items had a hardy look, they had a caressing, luxurious hand. That seems to be the signature of this new Gilded Age.

— Tim Blanks

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