【流行趋势】2021年春季珠宝潮流趋势报告 – Good Morning Vogue

The Spring 2021 Jewelry Trend Report-Good Morning Vogue –BY LAIRD BORRELLI-PERSSON

上半身的化妆正在这个时代极速复兴，这对珠宝爱好者来说是一个福音。视频会议——更不用说除了我们的家(或者应该是，如果不是的话)之外，我们在任何地方都戴着面具——把注意力吸引到了脸上（上半身）。这一季，设计师们提出了许多有吸引力的方法来创造一种光环效应。

色彩是这个季节的主题。它不仅会照亮你的一天，也照亮你的同事，当他们看到在脖子上的霓虹灯(香奈儿，范思哲)或耳朵(华伦天奴)。Choker项链是选择的长度ーー它们可以说在折叠的上方，银链环随处可见。街角的五金店似乎是一些小玩意的来源。罗克有一对钥匙耳环，而纪梵希(Givenchy)则有一头高高翘起的头发。定制的还有参考品牌图标的吊坠。普拉达的三角形从耳环上摇摆着，香奈儿和雅克穆斯展示了他们标志性的手袋微缩模型，MM6的马吉拉在黑丝带上系上了一个 Tabi 牌靴子护身符。

Backstage at Christian Dior 克里斯汀 · 迪奥后台 Photographed by Acielle / Style du Monde 摄影: Acielle/Style du Monde

在 Miu Miu 和 Acne 工作室，事物更加抽象，纯粹的形式被优先考虑，而在克里斯汀 · 迪奥，Coach，Schiaparelli 和其他地方的设计师将这个比喻引入焦点，手工制作不会失去光泽的鸟、船、花和星星。

Isn’t It Iconic?
香奈儿2.55、普拉达三角形、马吉拉 · 塔比(Margiela Tabi)靴子和雅克穆斯(Jacquemus)的 Chicito 靴子都是经久耐用的ーー也是为了增强品牌的特色。

Rainbow Coalition – 彩虹联盟

在脖子上的颜色会使你在一通通的视频电话会议看起来更有活力。

Linked In – 链接

No chain, no gain.-没有锁链，就没有获得感。

Putting on the Glitz – 穿上浮华

Party on top, sweats below: Into every jewelry box some bling should swing. -派对在上面，汗流浃背在下面: 在每一个珠宝盒里都应该摆放一些珠宝。

Abstract Notions – 抽象概念

Designers played with pure forms for spring, taking geometric shapes to new places. – 设计师们为春天设计了纯粹的形式，把几何图案应用到了配饰的新领域。

Object Lessons – 实物课程

Figurative pieces like a boat pendant or starfish earrings are fun to wear, and are usually foolproof conversation starters. – 像船吊坠或海星耳环这样的比喻性物件戴起来很有趣，而且通常都是简单易懂的谈话开场白。

Tools of the Trade – 业界工具

You won’t find these dog collars, or locks and keys, and ball bearings at Home Depot.- 你不会在家得宝找到这些狗项圈，锁和钥匙，和滚珠轴承。

Fake It Till You Make It – 假装你成功直到你真的做到了！

Trompe l’oeil treasures have a place in a surreal world. – 错视画中的宝贝在超现实世界中占有一席之地。

And we are back.

And today’s season finale of Good Morning Vogue.

We’re looking to Vogue’s editors to break down

the best of what came down the runway, on the zoom call,

in this utterly unique season.

The clothes that wowed them, moved them,

and we chatting the way forward into new and better year.

And I’ll be giving my opinions too.

Let’s take a look.

We shouldn’t shy away from joy and the joy of dressing up.

And I think now, there’s this tendency to wanna hide

or to pair things back, or to sort of tone things down,

because we’re in this really sort of somber moment.

But I think in order to sort of save our sanity,

we need to remember that dressing up is so important.

And dressing for joy, and dressing with joy,

is really what’s gonna help lift our spirits.

We’ve gone from that dressing to look good,

to dress to feeling good.

And I think that’s really important.

Definitely one of my favorite shows had to be Versace.

I think if Versace is an energy that is normally

at her typical runway shows,

came through virtually this year.

And you really felt the sense of the girls,

which is sort of always a focus at Versace.

You’re always seeing you know, beautiful girls, great music.

It’s a lot of fun, it’s high energy.

And I think that came across virtually for her.

And to be in the city with my peer, you know,

to be with other plus size models, doing these revered show.

Versace is about fun and it’s about being sexy

but not having to be this prescriptive idea of sexy.

That when I saw my friends walk on that runway,

it was them in Versace.

I think it marked a time specially,

with a house as big and as powerful and important

as Versace as it says, it’s like no going back.

What really struck me was just the strength of designers

who are women, really taking on a lot of the bigger issues

and implications of what it means to be a designer now

and making clothes, whether it’s really having

such a strong commitment to sustainability

and all of its many different iterations.

Whether it’s how you make the things, who’s making them,

in terms of being more responsible.

A label that I really love is called Colville,

which is Lucinda Chambers and Molly Molloy’s collection.

The way that they are working with different

women’s artisanal communities all over the world.

It makes you wanna buy those kinds of pieces

because you understand the way that they are building

responsible design into their project,

in order to be sustainable,

and in order to be a responsible brand,

you have to be thinking about the people

that you’re employing.

With Christopher John Rogers,

what really stood out to me,

is his fall collection was the ultimate

in going out clothes.

By first spring 2021 he really thought about

the idea of clothes that you could wear in the home,

sort of easy tunic tops in these beautiful color palettes.

You know, we’ve all been working on zoom

and behind our computer screens nonstop.

And then when you see a young designer like Christopher,

show something that feels so right for this moment

but also so right for his voice,

it just felt like a perfect culmination

of everything that’s happening.

[Woman] I think that Coach is a really good example

of making do with less.

And I thought that it was the quirkiest, most charming,

interesting personal collection that we’ve seen

from Stewart, thus far.

If you go back to the men’s shows,

Jonathan Anderson is really one of fashion’s leaders

right now.

I particularly loved like the tuxedo looks,

with like the cargo board shorts.

I thought that looked like a such a new way

to look at an evening.

Hopefully there will be an evening soon

that we can all be going out but I just thought

the simplicity and craftsmanship of his clothes

was really compelling to me.

And I think this is also a great moment for brands

like the Ro and Chanel and Dior and Fenty,

and all those kinds of women led brands

that are producing kind of still luxury pieces

that are very kind of real life

and don’t require you to be invited to an event

to wear them, you know because I’m not quite sure

when the next girl has got to be.

Chanel I thought was sort of the most Chanel show

that we’ve seen.

She really abided by the codes of the house,

which as an editor or as I would assume a consumer,

that feels really right.

And what I also love about Chanel and something

that they’ve been doing for a few seasons

is a NAS and venues, the photography duo husband and wife

team have been shooting sort of in real time,

some really beautiful imagery of the models.

Kenneth Ize has been someone whose work I’ve loved

for quite a while.

I saw a show that he did at Lagos fashion week,

and it really stayed with me because he uses

this centuries old fabric.

And it’s made on these really beautiful wooden looms.

And it takes hours to make,

and it’s a sort of a dying art in Nigeria

And he’s done a lot to sort of revive that craft.

And he’s producing this clothing.

That’s such a labor of love.

So I was just really impressed that he was able

to take his brand to step forward in a moment

that was really difficult.

One of the shows that people were most excited

about was Matthew Williams debut at Givenchy.

There were heels in the shape of a horn that reference

to designed by Alexander McQueen.

And there was a baseball cap with somewhere

between devil horns and cat ears that

referenced a collection by Ricardo tissue.

So that felt like a step in a new direction

for a heritage brand where a lot of designers

might just reference the founder.

But Matt was really looking at what Givenchy

has meant in popular culture over the past 15 years.

And not just in the fifties

Rick Owens is always somebody I look to revive my faith

and love of fashion.

And he absolutely did that.

This season is very monumental

despite being in his backyard.

The clothes to me felt particularly fearless

and bold and like the future in a way.

He| was also one of the few designers

to actually put masks on the models.

Three designers that stood out for me were Simone Rocha

Molly Goddard, and Roksanda Lincic.

And what was interesting about each one of them

is they’ve got very strong signatures

very strong ideas about how they think women should dress

and how they themselves dress.

And I think they really very sensitively

and very thoughtfully and very imaginatively

created cloves again, responded to the moment

and felt responsible.

What I found very powerful.

And at times even moving

about these collections is really exploring the imaginations

of designers and seeing how creative people come

up with creative solutions and the most challenging moments.

I think this season has challenged all of us

to sort of re-look at ourselves

and go back to our own values

and really take stock of things.

And that’s been wonderful to see.

What we saw was designers thinking creatively

about fashion, but not just in terms of silhouette

or proportion or fabric or detailing.

It’s also, how can I ally my creativity

to something that feels really kind of meaningful.

That’s a wrap on the first season of Good Morning Vogue.

Over the past five weeks, we’ve had a chance to meet

the designers with relentlessly

advocating for social justice, environmental responsibility.

And of course, brilliant creativity.

We’ve been to the four major fashion capitals

plus Venice.

And God knows how many Covid tests.

The conclusion is that fashion is in the middle

of a transformation and we’ll continue to document it.

Bidding off for now, I’m Paloma Elsesser,

and this is Good Morning Vogue.