Do you think that Yi Mengling seems to be getting more and more tasteless?
In the past, she was comparable to the traffic of female stars, but now even her best photography has been complained about having a "county feeling".
Last year's Miu Miu event's "wearing underwear outside" also made many people say "I don't understand".
In fact, Yi Mengling is not a decline in appearance, but a lack of the vibrant brightness in the past.
The reason why Yi Mengling can fight her way out of the encirclement among Internet celebrities and models is because of her sense of atmosphere and relaxation.
And now she seems to be a little nervous, and she has lost her biggest advantage, and there is a stiff posture that the fashion industry insists on squeezing into the film and television industry.
previously played Bai Xiuzhu (Liu Yifei's past role), and was also ridiculed as a "beauty egg".
Comparison of recent photos with previous out-of-the-circle photos
Remember before, I collided with Guan Xiaotong, a well-known leg spirit in domestic entertainment, and performed the costume more smartly?
In 2022, it is even more flattering to shine on the GQ red carpet with a vintage dress, and the steps and expressiveness will overwhelm the stars ✨.
One thing to say, Yang thinks that Yi Mengling has a much more promising future in the fashion circle, such as the ruffian and greasy who walked the catwalk on the DNT show, and is also an Internet celebrity, and he couldn't catch up with Yi Mengling in the early days, but now he has gained a wave of fans.
Because the eye-catching needs of fashion are based on body proportions, personal temperament and clothing itself, pointing to fixed-point aesthetics;
Film and television, on the other hand, use language, movements, and expressions to show the inner changes of the characters, which is a kind of flexible expression, and there is a difference between the two in essence.
Today, Yang will take advantage of a few classic shows that the fashion industry has to mention to talk about fashion ❗️
Chanel in the snow season:
CHANEL 2019
A reader once asked Zhang Xiaohui, which show was the most impressive over the years?
Zhang Xiaohui's answer was that it was probably the autumn and winter show shortly after Lafayette's death, because at that show, all the models were shedding tears.
On March 5, 2019, Galeries Lafayette presented a winter swan song for Chanel.
The Grand Palais in Paris is covered in snow and smoke curls nearby.
Cara Delevingne led the way down the steps of the gardenia hut, the tips of the models' noses flushed, not knowing whether it was because of the bitter spring breeze or the nostalgia in their hearts.
Among the bags for the guests was a sketch of Galeries Lafayette walking side by side with Mademoiselle Chanel, with a line scrawled above their heads:
The beat doesn't stop.
It is different from Chanel's previous flamboyant methods, such as moving hundreds of tons of white sand into the show or igniting a 30-meter-high rocket.
The Fall/Winter ready-to-wear collection, created by Galeries Lafayette and Chanel's new Creative Director, Virginie Viard, is more intense and pastel than ever before.
The show opened with tweed, as usual, and the models wore neat hairstyles, twill fedoras and thick-heeled boots, giving them a romantic gentlemanly style.
In addition, compared to the previous minimalist design, this time there were rare layered items on the runway, breaking the seriousness of winter dressing.
Compared with the previous black and white world, the dopamine suit adds a lot of color to the brand, and the design of the neckline and zipper is also more casual and younger.
In the end, compared to the controversial down jackets and dresses, the sheep himself appreciated the pure white suits of this show.
The wide silhouette is yet soft, reminiscent of Mademoiselle Chanel's feminine design.
North African Moonlight Dunes:
Yves Saint Laurent 2023
In addition to the wind and snow, there are also sand dunes.
Feelings aside, Yves Saint Laurent's 2023 spring/summer menswear show last year should have blown up everyone's circle of friends.
The show began at sunset, and the Moroccan sky had just lit up with moonlight.
In the vast, dry desert, the rising aura is like an oasis, a metaphor for the mystery and complexity of life.
The sand and misty backdrop create a vast and captivating atmosphere that makes the show even more attractive.
A V-neck blazer and sheer tulle top are the perfect interpretation of the brand's signature style.
The high-waisted, wide-leg trousers are designed to flatter the figure, with a more stretched silhouette that echoes the laid-back mood of Marrakech's life.
The outerwear is more slouchy, fluid, and simple, and the length of the pleated satin jacket reaches almost to the ground, contrasting with the delicate lines of the blazer.
The show aims to promote a genderless aesthetic that can be seductive even for men.
Madame Butterfly Radiance:
DIOR 2007
After talking about Chanel and Yves Saint Laurent, we have to mention their old rivals - Dior.
Moreover, Chanel and Dior have been spraying each other since the founding days, and after Galeries Lafayette and Pirate took the helm one after another, the works of the two masters are often compared.
Mademoiselle Chanel on the left and Monsieur Dior on the right
Unlike Chanel's simple atmosphere, Dior during the Pirate period can be described as extremely luxurious.
In particular, the "Madame Butterfly" haute couture show for Dior's 60th anniversary in 2007 made him firmly labeled the exclusive title of "hopeless master of romanticism".
With the theme of the Italian opera "Madama Butterfly", the show combines the art of oriental origami to complete a clever fusion of drama and Dongying geisha.
Japanese elements can be found throughout the costumes, such as modified kimonos, ukiyo-e, cherry blossoms, pine branches, bamboo joints, wooden combs, folding fans, lanterns, and hats......
The oriental style is coming, but it is different from the subtle beauty of the previous Japanese style.
The model's face is covered with a thick white foundation, exaggerated eyebrows and lips, and the yellow and green kimono is covered with flowers, like the last geisha of the classical era.
Swan Death Feast:
McQueen 1999
However, whether it is minimalist or extremely complex, the acceptance of blue-blooded and red-blooded works is still relatively high.
When it comes to classic and controversial runways in fashion history, we have to mention McQueen in the last century.
McQueen's designs are often inspired by myths, legends, history and film culture, but he is also passionate about using modern technology to showcase his unique creativity in fashion shows.
The 1999 show focused on the theme of technology and fashion.
To the beautiful melody of Charles Camille Saint-Saëns' orchestral version of "The Death of a Swan", supermodel Shalom Harlow appeared in a plain white umbrella dress, like a frightened swan.
As she spun gracefully, sprayers on either side sprayed her with multicolored paint.
A few minutes later, a one-of-a-kind inkjet dress was born in the amazed gaze of the audience, and this creation was full of violence and romance, so that McQueen himself was moved to tears.
Blooming in the Slums:
Maison Margiela 1989
Also a bit "weird" with McQueen is the brand Maison Margiela, which was also established at the end of the last century.
Unlike other designers who have become more and more proficient in their creative skills, Margiela fired the first shot in the fashion industry on her debut.
MMM's first show, the Spring/Summer 1989 collection, was presented at Paris Fashion Week.
The show laid the foundation for the brand's creativity for the next 20 years, a far cry from the glitzy show of the '80s, when the brand opted for an old café/theater in the style of an underground cultural stronghold, with only a strip of calico as a standway, and invitations in the form of telegrams.
Models with masked faces begin to appear in Tabi boots, soles soaked in red ink, leaving red marks on the catwalk, hoping that the audience will be more focused on the garments themselves.
Pure white tones, oversized garments, unconventional fabrics, exposed seams or bumpy print details, one can only see the skirt and blood color passing by.
No wonder Carla Sozzani, the former editor-in-chief of Vogue Italia, said: "Margiela is our last revolution in the fashion industry.