Jason Wu Fall/Winter 2012/13
In his most dramatic show to date, Wu’s focus shifted from last
season’s pretty
young girls in cocktail dresses and micro-shorts, to
unleashing an army of Chinese power
women. They marched from a pair of
palatial wooden doors installed at the end of the runway,
wearing his
take on the legacies of Chinese history: interpretations of militaristic
Communist
Army-green uniforms, the rich brocades and embroideries of
the Qing Dynasty, and the
glamour of the thirties, as filtered through
Marlene Dietrich’s movie Shanghai Express.
With its tendency to strict silhouettes neat, belted jackets and coats bristling
with fox-fur collars; quilting and epaulets; rigorously skinny pants;
and body-conscious
knee-length pencil skirts and fitted
sheath-dresses the collection seemed to play to a
far more grown-up
constituency than Wu’s reached before. The colour scheme
centred on black, gold, burgundy and khaki.
Still, with the exit of the ingenue, the luxury quotient was even more amped-up, most
Still, with the exit of the ingenue, the luxury quotient was even more amped-up, most
successfully in the outerwear: lace-appliquéd capes, a Spencer with
extravagant fox sleeves,
a cinched puffer vest with a deep fur
peplum all looks easy to imagine being flaunted on freezing
New York afternoons around next winter’s shows. For evening, 3-D velvet and gold-beaded embroidery,
strategically placed on dresses that paid glancing homage to cheongsams gave way to full red-carpet
gowns in clashes of cyclamen and imperial red satin, slashed to show plenty of leg. As a finale,
Wu sent his girls out, three abreast, almost like a military parade in Tiananmen Square. It was a
strikingly ambitious statement, and one which will undoubtedly resonate with the global
audience opening up before him.
New York afternoons around next winter’s shows. For evening, 3-D velvet and gold-beaded embroidery,
strategically placed on dresses that paid glancing homage to cheongsams gave way to full red-carpet
gowns in clashes of cyclamen and imperial red satin, slashed to show plenty of leg. As a finale,
Wu sent his girls out, three abreast, almost like a military parade in Tiananmen Square. It was a
strikingly ambitious statement, and one which will undoubtedly resonate with the global
audience opening up before him.
by ANDREA JANKE
Photo Credits/Source: © VOGUE
Photography by © Marcio Madeira/firstView
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