It is necessary to recognize that man’s collections get to a zone of attention of fashion-journalists less often. Probably, because in a man’s fashion because of the stereotypes which have developed, perhaps, in the last to pair of centuries, it is more difficult to show something cardinally new, expressive and original, without having caused in consumers a smile smile.
But existence of restrictions always promoted the birth professional, highly artistic and almost by all means perfect. Directly such creativity of the Chinese designer of men’s wear of Xander Zhou (Xander Zhou) who has intuitively "seized" an exact vector of stylistics of is represented to me that with readiness it can be accepted men and on advantage is estimated by ladies.
In base of its design any special feeling of nonnational freedom, freedom natural, identical to air movement, a flaw which without demand involves clothes fabric in the game lies. But at all in a feminine way, not in awe of the thinnest silk. Jackets, a coat, оверсайз jackets, trousers and shorts from the spring collection cast by the Scottish winds, as though from within are filled with the air giving to them additional volume. Dense oboyestoronny silk fabrics form sculptural plastic folds, in a compartment with bolshenny collars, valves of pockets, by tselnokroyeny sleeves do maskulinny silhouettes of clothes. The big wide vertical strip and very small cage bring some dramatic art, and big spots red, turquoise, violet place semantic accents in a black-and-white subject cloth of a collection. Together with smooth brilliant silks, the designer masterfully uses difficult impressive fabrics with effect of a rough paving or skin of huge reptiles.
Young boy scouts solemnly and surely go on a podium in footwear on huge soles which as it seems to me, the demand in the forthcoming season is prepared. Organically and very much as a real man Xander Zhou ties on own "boys" a scarf, as the unique element reminding petals of a heraldic sign of the French monarchs of Fleur-de-lis. This phrase which the designer called the spring collection, and its graphic analog often meet in cultures of many countries and are allocated with numerous senses. At Zhou it becomes a principle of formation of the style of its things – man’s, free, united modern elegance and irreality of silhouettes.
«I did not assume that on a podium my collection will look so futuristichno, I did not aspire to it, – the designer admits, – but left very conformably to the words embroidered on markings. I decided not to write "Made in China", this phrase, perhaps, any more does not work. 5 years on a label of my clothes I write "Made on Another Planet", with a smile telling to buyers that it does not concern mass Chinese production».
Well, very symbolically, isn’t that so?
